54. Oktobarski salon 54th October Salon niko ne pripada tu no one belongs here više nego t i more than y ou
11. oktobar – October 11th – 17. novembar 2013, November 17th 2013, Beograd Belgrade Zepter Expo, Zepter Expo, bivša RK Kluz, Former Department Store Masarikova 4 KLUZ, Masarikova 4
kustoskinje / Curated by Red Min(e)d www.oktobarskisalon.org IMPRESSUM Društvene mreže Izdavač IMPRESSUM Dragana Milovanović Publisher © INCLUDEPICTURE Luka Božović Kulturni centar Beograda Social networks Cultural Centre of Belgrade MERGEFORMATINET Cultural Osnivač i pokrovitelj Knez Mihailova 6/I, 11000 Founder and patron Luka Božović Knez Mihailova Street 6/I, Centre of Belgrade, artists, Grad Beograd Koordinatorka edukativnih Beograd City of Belgrade 11000 Belgrade authors, photographers programa Srbija Educational programmes Serbia www.oktobarskisalon.org Odbor Oktobarskog salona Ana Nedeljković www.kcb.org.rs October Salon Board coordinator www.kcb.org.rs 2013 Aleksandar Peković - Aleksandar Peković – Ana Nedeljković predsednik, Finansije Za izdavača president On behalf of the publisher Ana Perović, Vladimir Perić, Ninela Gojković Mia David Ana Perović, Vladimir Perić, Account Manager Mia David Miroslav Perić, Miroslav Perić Ninela Gojković 2 Mia David – članovi/ce Administrativna podrška Urednice vodiča Mia David - members Guide Editors 3 Dragana Ilić Red Min(e)d u saradnji sa Administrative Support Red Min(e)d in collaboration Stručni savet KCB Expert Council Dragana Ilić with CCB Irina Subotić, Jasmina Postavka Irina Subotić, Jasmina Čubrilo, Nikola Šuica, Bojan Marjanović, Dejan Autorke/ri tekstova Čubrilo, Nikola Šuica, Installation Translation Branislav Dimitrijević, Mia Pavić, Nikola Cvetković Red Min(e)d, umetnice/ci, Branislav Dimitrijević, Mia Bojan Marjanović, Dejan Zoran Lojanica David Nikola Đorđević, Bojan saradnice/ci David Pavić, Nikola Cvetković Golubović, Vladimir Đumić Nikola Đorđević, Bojan Proofreading Autorski tim D&A&K dizajn Prevod Team Golubović, Vladimir Đumić Dragana Kitanović (Serbian) Kustoskinje Zoran Lojanica Curators D&A&K design, Eric Dean Scott (English), Red Min(e)d: Danijela TV spot Red Min(e)d: Danijela Aleksandra Estela Bjelica Dugandžić Uroš Milkić Lektura Dugandžić Živanović TV clip (Serbian) Živanović, Katja Kobolt, Dragana Kitanović (srpski), Katja Kobolt, Dunja Kukovec Uroš Milkić Dunja Kukovec i Foto dokumentacija Erik Din Skot (engleski), and Jelena Petrović Graphic design Jelena Petrović Ana Kostić, Senja Vild, Duško Aleksandra Estela Bjelica Photo documentation Saša Kerkoš Jelen (srpski) Visual Identity Ana Kostić, Senja Vild, Duško Vizuelni identitet Saša Kerkoš Jelen Printed by Saša Kerkoš Laboratorija za foto i video Grafičko oblikovanje Publikum dokumentaciju Saša Kerkoš Assistants to the Author of Photo, video documentation Asistentkinje autorke Tina Smrekar, Anja Perše, Visual Identity exhibition lab Print run vizuelnog identiteta Tjaša Nabergoj, Žoana Dijas, Štampa Bruka Notes Tina Smrekar, Anja Perše, 700 Bruka Notes Dejan Vladić, Ervin Prašljivić, Publikum Tjaša Nabergoj, Joana Dias, Nada Žgank Exhibition Architecture Dejan Vladić, Ervin Prašljivić, Arhitektura postavke Tiraž Lopičić + Lopičić arh. Nada Žgank Lopičić + Lopičić arh. Dizajn i produkcija 700 Perpetuum Mobile Organizer Design and production Organizator AWOL - Marija Raković, Miloš Cultural Center of Belgrade Perpetuum Mobile Kulturni centar Beograda Popović, Nadežda Perišić AWOL - Marija Raković, Miloš Savić Acting Director Popović, Nadežda Perišić v.d. direktora Mia David Savić Mia David Vođenja kroz izložbu Vladimir Bjelčić, Aleksandra Project Coordinator Walk through the exhibition Koordinatorka projekta Estela Bjelica Mladenović, Zorana Đaković Minniti Vladimir Bjelčić, Aleksandra Zorana Đaković Minniti Gordana Dobrić, Tanja Estela Bjelica Mladenović, Marković, Katarina Exhibition Producer Gordana Dobrić, Tanja Producentkinja izložbe Radulović, Marija Ratković Jasmina Petković Marković, Katarina Jasmina Petković Radulović, Marija Ratković Dežurni u izložbenom Assistant Producer Asistentkinja producentkinje prostoru Ana Stojković Audience assistants in the Ana Stojković Bojana Aleksijević, Eli exhibition venue David, Ivan Drljača, Milica Media and Public Relations Bojana Aleksijević, Eli Odnosi s medijima i javnošću Đerković, Mirko Herceg, Ana Đokić David, Ivan Drljača, Milica Ana Đokić Jovana Mišković, Stefan Đerković, Mirko Herceg, Paunović, Katarina Radulović Assistant to the PR Jovana Mišković, Stefan Asistentkinja PR-a Paunović, Katarina Radulović Dragana Milovanović s adržaj 38 - 39 74 - 75 106 - 123 118 - 119 130 - 133 Roza el Hasan/ Róza El-Hassan Lorena Erera Rašid/ Lorena Saosećanje u dizajnu? c ontent Herrera Rashid Forum, Kustoska škola/ Forum, / Compassion in Design? Upitnik/Questionnaire 40 - 43 Curatorial School Saša Kerkoš niko ne pripada tu više nego ti/no Endi Huperih/ Endy Hupperich 76 - 79 Perpetuum Mobile one belongs here more than you Lala Raščić 108 - 117 120 - 121 Red Min(e)d 44 - 47 niko ne pripada tu više nego ti/ no Ilegalni Bioskop/ Illegal Cinema Čitaonica, Digitalna rerna, Audio Gozde Ilkin/ Gözde Ilkin 80 - 81 one belongs here more than you TKH, Olga Dimitrijević & Video Kabina/ Reading Room, 4 4 - 5 Dina Rončević Margareta Kern, Grupa h.arta/ Digital Oven, Audio and Video 5 Sadržaj / Content 48 - 49 the h.arta Group: Maria Crista/ 122 - 123 Booth Adela Jušić 82 - 83 Marija Krista, Anka Gjemant/Anca niko ne pripada tu više nego ti// 6 - 7 Ivana Smiljanić Gyemant, Rodika Tahe/ Rodica otvorenO// no one belongs here Koncept / Concept 50 - 53 Tache, Gozde Ilkin/ Gözde Ilkin, more than you//open 134 - 141 Margareta Kern 84 - 85 the ff Network of Artists/ grupa Marija Ratković Jelena Sokić umetnica ff: Antje Majevski/ Program/Programme 8 - 105 54 - 55 Antje Majewski, Šarlot Kalinan/ Angela Melitopulos i Mauricio 86 - 87 Charlotte Cullinan, Julijane 124 - 129 Izložba/Exhibition Lacarato/ Angela Melitopoulos Alma Suljević Zolmsdorf/ Juliane Solmsdorf, 142 - 143 and Maurizio Lazzarato kolektiv a7.außeneinsatz/ the Mjuzik Spot/ Music Spot 10 - 11 88 - 89 collective a7.außeneinsatz: Podrška / Support Milijana Babić 56 - 59 Tedžal Šah/ Tejal Shah Margaret Šuc/ Margret Schütz, 126 - 127 Karen Mirza i Bred Batler/ Karen Greta Hoheisel/ Greta Hoheisel Black Water and Her Daughter 12 - 14 Mirza & Brad Butler 90 - 93 Tijana T Jože Barši Boris Šribar Nama (ne)treba obrazovanje/ We Ma Faiza 60 - 61 (Don’t) Need (No) Education 14 - 15 Živi logor smrti/Living Death 94 - 95 Kolektiv a7.außeneinsatz/the 128 - 129 Nina Bunjevac Camp Hito Štajerl/ Hito Stayerl collective a7.außeneinsatz Irena Tomažin
16 - 21 62 - 63 96 - 99 Izložba kao skriptovani prostor – Jasmina Cibic Muzej ne-participacije/ Museum Nataša Teofilović Načini proizvodnje, proizvodnja of Non Participation načina/ The Exhibition as Scripted 21 - 23 100 - 101 Space: The Means of Production Lana Čmajčanin 64 - 65 Slaven Tolj and The Production of Means Nandifa Mntambo/ Nandipha Jelena Vesić 24 - 29 Mntambo 102 - 105 Ines Doujak Milica Tomić Administracija estetike ili 70 - 71 podzemni tokovi ugovaranja 30 - 31 Aleksis O’Hara/ Alexis O’Hara umetničkog posla – Između ljubavi Efemerki/Ephemerki Andrea Palašti i novca, između novca i ljubavi …/ Administration of Aesthetics 32 - 35 72 - 73 or Undercurrents of Negotiating Adrijana Gvozdenović Marko Peljhan i Metju Biderman/ Artistic Jobs – Between Love and Marko Peljhan and Matthew Money, Between Money and Love… 36 - 37 Biederman Jelena Vesić Fljaka Haljiti/ Flaka Haliti Niko ne pripada tu koji ukazuje na (ne)mogućnost Dugandžić Živanović, Katja Kobolt, and discursive methodologies project Living Archive, which from the eponymous stories by više nego ti* urušavanja okoštalih struktura Dunja Kukovec i Jelena Petrović sa of researching, re-thinking and deals with the (im)possibility of Miranda July. institucionalne i patrijarhalne različitih pozicija iskustva i znanja presenting the subject of (non) breaking through the ossified U okviru 54. Oktobarskog proizvodnje znanja. Živi arhiv (feminističke teorije, savremene human nature. The concept and structure of institutional and Red Min(e)d was established by salona, Red Min(e)d se, zajedno angažuje savremenu umetnost umetnosti, kulturne produkcije the structure of the international patriarchal knowledge production. Danijela Dugandžić Živanović, sa umetnicama i umetnicima, i feminističke kustoske prakse i aktivizma), radeći i živeći u contemporary art exhibition No Engaged with contemporary art Katja Kobolt, Dunja Kukovec and kolektivima i drugim učesnicama u prevazilaženju njihovog pukog različitim mestima (Ljubljana, One Belongs Here More Than and feminist curatorial practices, Jelena Petrović, all of whom are i učesnicima, bavi vizuelnim i pojavljivanja kao simptoma Sarajevo, Beograd, Minhen) sa You stand for a grounded sense it works towards overcoming differently positioned in regards diskurzivnim metodologijama koje političkog, kulturnog i obrazovnog idejom istraživanja i otkrivanja towards singular subjectivities their appearance as a symptom to experience and knowledge 6 7 istražuju, nanovo misle i prikazuju sistema današnjice. Zapravo, mogućih polja emancipacijskog that are collectively bound and of today’s political, cultural and (feminist theory, contemporary temu (ne)ljudske prirode. Niko ne sledi pomake između politike mišljenja i delovanja u kome se outward-oriented by the feminist educational system. In fact, it art, culture production and pripada tu više nego ti zasnovan pokreta i politike znanja, između prožimaju umetničke i kustoske concept of ‘sustainability’. shifts between the politics of activism), and who live and work je na razumevanju singularnih individualnog rada i kolektivnih prakse, zajednički procesi As proposed by the feminist social movement and the politics in different places (Ljubljana, subjektivnosti, kolektivno praksi usmerenih ka feminističkoj produkcije znanja i aktivan odnos theoretician Rosi Braidotti, this of common knowledge as well as Sarajevo, Belgrade, Munich); with povezanim i usmerenim ka vrsti održivosti svakodnevnog prema društvenoj svakodnevnici. kind of sustainability argues for between individual practice and the mutual idea of researching spolja kroz feministički koncept života. Zajedno sa umetnicama Nastavljajući višegodišnju ‘a re-grounding of the subject collective work towards a feminist and discovering possible fields održivosti. Prema rečima Rosi i umetnicima, kolektivima i saradnju osnivačica i ujedno in a materially embedded sense kind of everyday life sustainability. of emancipatory thought and Brajdoti, ova vrsta održivosti publikom, Živi arhiv stvara različite članica, kroz osmišljavanje i of responsibility and ethical By bringing together artists, action that is permeated by znači „ponovno uspostavljanje „(ne)radne stanice”: Izložba, pokretanje zajedničkog projekta accountability’ for society and collectives and the public, the artistic and curatorial practice, subjekta kroz materijalno Perpetuum mobile, Audio/video Bring In Take Out Living Archive, environment. Rethinking the Living Archive creates different mutual processes of knowledge izgrađen osećaj odgovornosti kabina, Čitaonica, Upitinik, Red Min(e)d kao feministička embodied structure of human ‘(non)working stations’: Exhibition, production and active relations i etičke uračunljivosti” prema Digitalna rerna, Forum, Mjuzik kustoska grupa započinje svoj rad subjectivity requires an ethics Perpetuum Mobile, Audio/Video regarding everyday life of društvu i okolini. Preispitivanje spot i Kustoska škola. u oktobru 2011, sa prvom edicijom of lucidity, as well as powers of Booth, Reading Room, online society. Continuing the long-term otelotvorenog sastava ljudske u Zagrebu, a zatim nastavlja sa a new transformative creativity. Questionnaire, Digital Oven, cooperation (spanning several subjektivnosti zato zahteva jednu Na taj način, (ponovo) proizvodimo radom na interaktivnim izložbama In this sense, the exhibition Forum, Music Spot and Curatorial years) between founding novu etiku lucidnosti i snagu interaktivni prostor – mesto tokom 2012 u okviru novih edicija takes fully into account the School. members and simultaneously transformativne kreativnosti. glasne feminističke artikulacije u Ljubljani, Sarajevu i Beču. fact that bodies have become regular members, by creating and U tom smislu, izložba polazi odakle je moguće promišljati, Sarađujući sa raznim kolektivima, techno-cultural constructs In this way, No One Belongs Here commencing the project Bring In od činjenice da su tela postala stvarati, emancipovati i održavati pojedinkama i pojedincima, immersed in networks of complex, More Than You (re)produces an Take Out Living Archive, Red Min(e) tehno-kulturološki konstrukti sopstvene i zajedničke pozicije. grupama i predstavljajući svoj simultaneous and potentially interactive space – the space of d began its work as a feminist zahvaćeni u mrežu složenih, Kako je to opisala Biljana Kašić: rad u raznim kontekstima Red conflicting power-relations in a loud (feminist) articulation out curatorial group in October of paralelnih i potencijalno „Living Archive se pojavljuje kao Min(e)d deli i razvija nove metode which all kinds of historically of which it is possible to reflect, 2011. Its first edition was in konfliktnih odnosa moći, kroz koje otvoreni prostor koji istovremeno i značenja živog arhiva u teoriji transposed ideologies have been rework, emancipate and sustain Zagreb, while the continuation of su savremeni kapitalistički uslovi znači i proizvodi dislokaciju i novu i praksi savremene umetnosti, internalized by contemporary one’s own and our own positions. its work was done in 2012 through svakodnevnog života usvojili lokaciju, vidljivost i prisutnost koje temelje na feminističkom capitalist conditions of everyday As described by Biljana Kašić, “it interactive exhibits, as part of new sve vrste istorijski posredovanih nevidljivog, mogućnost i slobodu razumevanju društvene life as a permanent and only is an open space that means and editions in Ljubljana, Sarajevo and ideologija kao permanentno i eksperimentisanja, omogućavajući emancipacije. possible state of social reality. creates both dislocation and new Vienna. Through cooperation with jedino moguće stanje društvene time politizaciju prostora i bringintakeout.wordpress.com Through the subject of (non) location, visibility and presence various collectives, individuals, stvarnosti. Izložba o (ne)ljudskoj vremena”. Ne radi se samo o tome human nature, the exhibition of the invisible, possibility and groups and by representing their prirodi predstavlja izazov u potrazi kako biti interaktivan, već i o tome presents the challenge of finding freedom of experimentation, work in various contexts, Red za jednom novom (društvenom) kako biti (ne)aktivan. No One Belongs Here a new way of (social) imagination thereby enabling politicization Min(e)d shares and develops imaginacijom mogućih budućnosti More Than You* towards possible futures and of space and time”. It is not only new methods and meanings of i njenom odgovornom politikom Red Min(e)d its responsible politics of the about being interactive, it is also the living archive in the theory zajedničkog i zajedništva. *naslov izložbe je preuzet iz During the 54th October salon, commons and communalities. about being (in)active. and practice of contemporary Niko ne pripada tu više nego ti istoimene zbirke priča Mirande Red Min(e)d together with art, which they base on the polazi od kontinuiranog rada na Džulaj. participating artists, collectives No One Belongs Here More Than By Red Min(e)d feminist understanding of social projektu Living Archive (Živi arhiv) Red Min(e)d su osnovale Danijela and the public develops visual You departs from the continuous *The title of the exhibition is taken emancipation. 8 9
izložba exhibition
Milijana Babić, Jože Barši, Milijana Babić, Jože Barši, Nina Bunjevac, Jasmina Cibic, Nina Bunjevac, Jasmina Lana Čmajčanin, Ines Dujak, Cibic, Lana Čmajčanin, Ines Efemerki, Adrijana Gvozdenović, Doujak, Ephemerki, Adrijana Fljaka Haljiti, Roza El-Hasan, Gvozdenović, Flaka Haliti, Róza Endi Huperih, Gozde Ilkin, El-Hassan, Endy Hupperich, Adela Jušić, Margareta Kern, Gözde Ilkin, Adela Jušić, Angela Melitopulos & Mauricio Margareta Kern, Angela Lacarato, Karen Mirza & Melitopoulos & Maurizio Bred Batler, Living Death Lazzarato, Karen Mirza & Brad Camp - Živi logor smrti, Muzej Butler, Living Death Camp, ne-participacije (Karen Mirza, Museum of Non Participation Rejčel Anderson), Nandifa (Karen Mirza, Rachel Anderson), Mntambo, Aleksis O’Hara, Nandipha Mntambo, Alexis Andrea Palašti, Marko Peljhan O’Hara, Andrea Palašti, Marko & Metju Biderman, Lorena Peljhan & Matthew Biederman, Erera Rašid, Lala Raščić, Dina Lorena Herrera Rashid, Lala Rončević, Ivana Smiljanić, Raščić, Dina Rončević, Ivana Jelena Sokić, Alma Suljević, Smiljanić, Jelena Sokić, Alma Tedžal Šah, Boris Šribar, Hito Suljević, Tejal Shah, Boris Štajerl, Nataša Teofilović, Šribar, Hito Stayerl, Nataša Slaven Tolj, Milica Tomić Teofilović, Slaven Tolj, Milica Tomić milijana b abić Holandiji, Nemačkoj, Danskoj, Estoniji, Španiji i drugim has presented her work on various solo and group mestima. Od 2006. godine, živi i radi u Rijeci. exhibitions and festivals in Croatia, South Africa, Slovenia, Italy, Belgium, Netherlands, Germany, Tražim posao, 2011-2012. Denmark, Estonia and Spain. Since 2006 she lives and umetnička akcija/ dokumentacija Looking for Work, 2011-2012 works in Rijeka. Artist’s action / documentation Rad Tražim posao polazi od dokumentacije akcije traženja posla u trajanju od godine i po dana, čiju The display Looking for Work is based on okosnicu predstavlja oglas sadržaja Vizualna umjetnica documentation of a year and a half long action 10 11 hitno traži bilo kakav posao koji je kontinuirano of looking for work, evolving around an ad Visual objavljivan u lokalnim novinama. Kako su reakcije na artist urgently looking for any kind of work, which oglas dolazile uglavnom od strane muškaraca koji was continuously published in local advertisers. As su nudili sumnjive poslove poput masaže, pratnje na responses to the ad came mainly from men offering putovanjima, poziranja, ‘performansa’ u noćnom klubu suspicious work like massage, accompaniment …, projekat se proširio i na pretraživanje rubrika u on travels, nude photography, ‘performances’ in kojima se nudi posao. night bars..., the project also developed through researching job columns with an aim to undergo the Tokom projekta, umetnica je radila kao konobarica, experience of work. čistačica, prodavačica, distributerka ... U svim poslovima, osim u slučaju „preko veze”, bila je During the project the artist worked as a cleaner, potplaćena i tretirana kao osoba nižeg reda. waitress, seller, distributor... In all cases, apart from Osim što se bavi istraživanjem tržišta rada u vremenu the work found ‘through a connection’, she was rekordne nezaposlenosti u Hrvatskoj, projekat Tražim underpaid and treated as a person of a lower rank. posao istražuje status savremenih umetnika/ca u Apart from dealing with the research into the labour hrvatskom društvu i problematizuje nedostatnost market in times of the highest unemployment rate in umetničke profesije, s posebnim naglaskom na poziciji Croatia, the project Looking for Work questions the žene umetnice i polju vizuelne umetnosti. Uslovi u status of contemporary artists in Croatian society kojima (ne samo) hrvatski vizuelni umetnici/e rade su: and problematizes insufficiency of artistic profession, jeftina produkcija, neplaćen rad, nepostojeće tržište with an accent on the position of woman artist and umetničkih radova, nedostatak sistematske promocije the field of visual art. Conditions in which (not only) umetnika/ca na međunarodnom nivou. Opstanak Croatian visual artists work are cheap production, unutar profesije je tako jedino moguć uz dodatne/ unpaid work, non-existing contemporary art market, spoljne izvore zarade. lack of systematic promotion on international level. Survival within the profession is possible only with Milijana Babić je vizuelna umetnica čiji rad često external sources of income. zadire u polje „žive umetnosti“. Diplomirala je vajarstvo 2001. godine na Institutu za tehnologiju u Milijana Babić is a visual artist whose work often Durbanu (Južna Afrika), a magistarsku tezu odbranila enters the field of live art. She graduated in sculpture na Akademiji likovne umetnosti i dizajna u Ljubljani at the Durban Institute of Technology, Durban, 2007. Dugogodišnja je saradnica Međunarodnog Republic of South Africa, 2001, and received her MA festivala savremenih umetnosti „Grad žena” u at the Academy of Fine Arts and Design, Ljubljana, Ljubljani i Akademije primijenjenih umjetnosti u Slovenia, 2007. She is a long term collaborator of the Rijeci. Članica je Udruženja nezavisnih umetnika International Festival of Contemporary Arts City of Hrvatske i Udruženja vizuelnih umetnika Hrvatske u Women in Ljubljana and the Academy of Applied Arts MILIJANA BABIĆ Tražim posao / Looking for a Job, 2011 – 2012 Rijeci i Zagrebu. Svoje radove izlagala je na raznim in Rijeka. She is a member of the Croatian Freelance dokumentacija / documentation; fotografija / photo by Ana Kostić samostalnim i grupnim izložbama i festivalima u Artists Association and the Croatian Associations of Hrvatskoj, Južnoj Africi, Sloveniji, Italiji, Belgiji, Visual Artists in Rijeka and Zagreb. Milijana Babić jože b arši vrste arhitektonskih istraživanja svemira i njihovog also a space of a certain collectivity, the collective Jože Barši, based in Ljubljana, has degrees in naknadnog širenja na instalacije, korišćenja vrednosti of readers that do not know one another yet form a architecture and sculpture, but his practice cannot umetničkog rada i njegove društvene i relacione collective by adding forever new notes to the text, be defined exclusively by either of these fields. In Mladen Dolar, Hegelova Fenomenologija duha 1, vrednosti, do nekih konceptualnijih radnji, kao što su entering into dialogue with strangers, transforming this sense also his meanders in art can be more 2013. hodanje, zvuk, razgovori, čitanja i registri znanja. Barši the text into a space that expands in front of our eyes easily understood: from the deconstruction of the video, tekst je 1997. predstavljao Sloveniju na Venecijanskom – as a visual object. On the other hand, the choice of sculptural object in the mid-1990s, to a shift to bijenalu u organizaciji Moderne galerije, a dve godine text is never unimportant. These are all seminal texts, some sort of architectural explorations of space Kao čitalac, Barši je izuzetno pažljiv i posvećen, kasnije, njegov rad Javni WC, funkcionalna skulptura, and the material practice of reading, leaving behind and their subsequent expansion into installations, ali čitanju pristupa kao materijalnoj vežbi, vežbi uvrštena je u prvo javno predstavljanje međunarodne manifold traces, is an intervention and a call, a call the use value of an artwork, and its social and 12 13 intervencije, bilo da su u pitanju materijalne linije, kolekcije Arteast 2000+ u Autonomnom kulturnom not only to attentive reading but to continuing, to relational value, to more conceptual practices, such podcrtavanja, zaokružavanja, markiranja, pisanja centru Grad Metelkova; tu je ovaj objekat i poslužio seeing the text as a space of new possibilities and a as walking, sound, conversations, readings, and anotacija na margini ili ispod teksta, grafičke svojoj svrsi. Barši je u okviru Moderne galerije u different sense. Pages upon pages marked by readers registers of knowledge. In 1997, Barši represented intervencije, asocijacije, tkanja i proširenja niti teksta Ljubljani izlagao više puta: na U3 Trijenalu savremene with their interventions are a materialization of that Slovenia at the Venice Biennale with a presentation (etimološki, tekst je tekstura, tkivo), međutim, kroz umetnosti u Sloveniji 1997. i 2010. i grupnoj izložbi fine line separating a text from itself, intruding in it, organized by Moderna galerija. Two years later ove individualne intervencije po tekstu olovkom – 7 grehova (2004/2005) i Oscilacije: 30 dana zvuka superimposing itself on it, and transferring it to new his work Public Toilet, a functional sculpture, napomena, poneki red, tekst takođe postaje prostor (2005). U okviru samostalne izložbe Kuća u Maloj registers. What is an idea? That which the source was included in the first public presentation of određenog kolektiviteta, kolektiva čitalaca koji se galeriji 1999, Barši je predstavio svoja viđenja u text tries to convey with its strategies of persuasion the international Arteast 2000+ collection at the međusobno ne poznaju, ali formiraju kolektiv večnim vezi sa participacijom u umetnosti kao suprotni pol and argumentation? That which occurred to the Autonomous Cultural Center Metelkova City; here dodavanjem novih napomena tekstu, ulazeći u dijalog kreiranja autonomnih objekata… Pored toga, Baršijev readers while reading it, a continuation of the text, an the building actually served its purpose. Barši had s neznancima, transformišući tekst u prostor koji rad uvršten je u Bijenale u Istanbulu (1995), association, a summing up, a conclusion drawn? There several other presentations of his work under the se širi pred našim očima – kao vizuelni objekt. S 24. Međunarodni bijenale grafičkih umetnosti (2001) i is a line between the one and the other, a materially auspices of Moderna galerija: at the U3 Triennials of druge strane, izbor teksta je uvek važan. To su sve brojne druge međunarodne i lokalne izložbe, programe drawn line, and I understand Barši’s attention to this Contemporary Slovenian Art in 1997 and 2010 and at nezaobilazni tekstovi, a materijalna praksa čitanja i gostujućeg umetnika, radionice i konferencije. Osvojio material practice of reading as drawing attention to group shows 7 Sins (Moderna galerija, 2004/2005) ostavljanja za sobom vidljivih tragova istovremeno je i je nagradu „Zlatna ptica“ za vizuelnu inter-medijsku the line, the trace as the very site of the production and Oscillations: 30 Days of Sound (Mala galerija, intervencija i poziv – ne samo na pažljivo čitanje, već umetnost. Radi kao profesor na Akademiji likovne of the idea and sense. There is no thought without 2005). In 1999 he had a solo exhibition at the Mala i na nastavak, na gledanje teksta kao prostora novih umetnosti i dizajna u Ljubljani. Barši je u poslednje the line. (Mladen Dolar, “A Fine Line” from Jože Barši, galerija; entitled House, it presented his views on mogućnosti i različitog smisla. Stranice za stranicama, vreme usmerio svoje interesovanje na zaboravljene ili MG+MSUM, Ljubljana 2013) participation in art as the opposite pole of creating obeležene čitalačkim intervencijama predstavljaju zanemarene tekstove političke filozofije i umetnosti. autonomous objects… In addition, Barši’s work has materijalizaciju fine linije koja razdvaja tekst od samog Kopije tekstova (cele knjige, poglavlja ili kraći been featured at the Istanbul Biennial (1995), the sebe, upadajući u njega, namećući mu se i prenoseći tekstovi) pojavljuju se ne samo kao umetnička 24th International Biennial of Graphic Arts (2001) ga u nove registre. Šta je ideja? Ono što izvorni tekst forma, već kao i sadržaj koji Barši analizira, a zatim and at numerous other international and Slovenian pokušava da prenese svojim strategijama ubeđivanja predstavlja publici. (Bojana Piškur) exhibitions, artist-in-residence programs, workshops, i argumentacije? Ono što se javilo čitaocu dok je and conferences. He has won the Golden Bird award čitao; produžetak teksta, asocijacija, rezimiranje, for visual inter-media art and works as a full-time izvučeni zaključak? Linija se povlači između jednog Mladen Dolar, Hegel’s The Phenomenology of professor at the Academy of Fine Arts and Design in i drugog, i ta linija je materijalna; i Baršijevu pažnju Spirit 1, 2013 Ljubljana. usmerenu na materijalnu praksu čitanja razumem kao Video, text More recently Barši has focused most of his interest obraćanje pažnje na tu liniju, na njen trag upravo kao on forgotten or ignored texts of political philosophy mesto produkcije ideje i smisla. Nema misli bez linije. As a reader, Barši is extremely attentive and and art. The copies of texts (whole books, chapters, (Mladen Dolar, „Fina linija“ Jožea Baršija, MG+MSUM, meticulous, but he approaches reading as a material or shorter texts) appear not only as an art form but as Ljubljana, 2013) practice, a practice of intervention, of a material content that Barši analyses and then presents to the line, of underlining, circling, highlighting, making public. (Bojana Piškur) Jože Barši je diplomirao arhitekturu i vajarstvo, ali annotations in the margin or under the text, of graphic se njegov rad oslanja i na druge oblasti umetnosti interventions, associations, of weaving and expanding JOŽE BARŠI Mladen Dolar, Hegelova fenomenologija duha 1 / Mladen Dolar, i kulture. Tako se najbolje mogu razumeti i njegovi the text fabric (etymologically, text is texture, tissue), Hegel’s Phenomenology of Spirit 1 2013 „meandri“ u umetnosti: od dekonstrukcije skulpturnog but through these individual interventions in the video i tekst / video and text; fotografija / photo by Ana Kostić predmeta sredinom 90-ih, te zaokreta u pravcu neke text with a pencil, a note, a line, the text becomes nina b unjevac profesorka umetnosti, Nina se pronašla u formi koja je prirodno nastala iz narativne komponente njenih skulpturalnih instalacija. Njeni izabrani mediji postali Otadžbina, 2013. su olovka i mastilo. Ninini stripovi bave se pitanjima digitalna štampa, strip imigrantskog iskustva, urbane dosade, raseljenosti i nacionalizma, a nalaze se u brojnim domaćim i Izloženi rad se sastoji od pet uveličanih stranica međunarodnim publikacijama: Komikaze (Hrvatska), iz novog „grafičkog romana“, stripa Nine Bunjevac Black i GIUDA (Italija), Stripburger (Slovenija), Zone Fatherland/Otadžbina. Sveska prati Ninino rano 5300 (Holandija), Stripolis (Srbija), ArtReview (UK), 14 15 detinjstvo i život njenog oca Petra, bivšeg oficira Asiatroma/Le Dernier Cri (Francuska), Broken Pencil, JNA, čija je vojna karijera prekinuta 1954. godine Exile, Taddle Creek (Kanada) i Mineshaft (SAD). zbog podrške disidentu Milovanu Đilasu. Nakon Učestvovala je u brojnim umetničkim i drugim sličnim zatvora, Petar je izbegao u Kanadu preko Austrije, događajima na području bivše Jugoslavije kao što gde je upoznao sapatnika, Nikolu Kavaju – koji će se su: Galerija Glasnik, CZKD i Novo Doba Festival, 11. vremenom preseliti u SAD i osnovati anti-komunističku Međunarodno bijenale grafike u Beogradu, gde je organizaciju „Sloboda za srpsku otadžbinu“; po dobila nagradu „Zlatno pero Beograda”; Elektrika, NINA BUNJEVAC Fatherland / Otadžbina, 2013 prelasku u Kanadu, Petar postaje aktivan član Pančevo; Kula Janković Stojana, Islam Grčki i Centar digitalna štampa, strip / digital print, comic grupe i bliski saradnik samog Kavaje. Poginuo je u za mirovne studije - Zagreb. Ninina kolekcija stripova produkcija 54. Oktobarski salon / production 54th October salon misterioznoj eksploziji u Torontu 1977. godine. Nina i Hladna Kao Led objavljena je 2011/2012. godine i fotografija / photo by Ana Kostić njena sestra Sara su odrasle u Jugoslaviji, a na njihov dobila kanadsku nagradu „Doug Wright” u posebnoj odgoj su snažno uticali deda i baba, bivši partizani. kategoriji. Nova kolekcija stripova Nine Bunjevac pod Otadžbina nije politički pamflet; ovaj rad ostaje nazivom Otažbina očekuje se u 2014. politički neutralan u pokušaju da sastavi život čoveka and great-aunt; if anything, this narrative explores narrative component in her sculpture installation koga Nina ne pamti. Sveska je kompilacija narativâ the effects of Peter’s political activities on the family work. Pen and ink became the medium of choice. Ninine majke, babe, sestre i baba-tetke; ako ništa Fatherland, 2013 as a whole; it also points to the devastating effects drugo, ovim narativom se istražuju efekti Petrovih Digital print, comics that the opposing political ideologies within the same Nina’s comics deal with the questions of immigrant političkih aktivnosti na porodicu kao celinu; takođe, family could have on subsequent generations. Four of experience, urban ennui, displacement and ukazuje se na razarajuće efekte koje suprotstavljene The exhibited work consists of five enlarged pages five pieces exhibited are the chapter openers and are nationalism. Her comic strips have appeared in političke ideologije unutar jedne porodice mogu imati from Nina Bunjevac’s new graphic novel Fatherland. the indicators of four different cities in two countries a number of local and international publications: na naredne generacije. Četiri od pet izloženih komada The book follows Nina’s early childhood and the life Nina has lived in - Welland, Toronto, Zemun and Niš Komikaze (Croatia), Black (Italy), GIUDA (Italy), su table kojima počinju poglavlja i daju naznake o of her father Peter, a former officer of the Yugoslav - each providing a home, each an integral part of her Stripburger (Slovenia), Zone 5300 (Netherlands), četiri grada u dve države u kojima je Nina živela – army whose military career was cut short in 1954 upbringing. These four pieces will be accompanied Stripolis (Serbia), ArtReview (UK), Asiatroma/Le Veland, Toronto, Zemun i Niš – u svakom se nalazi due to his support of the dissident Milovan Djilas. by the book cover image with the portrait of Nina’s Dernier Cri (France), Broken Pencil, Exile, Taddle Creek dôm, svaki je neodvojivi deo njenog odgoja. Ova četiri After imprisonment, Peter escaped to Canada via father. (Canada) and Mineshaft (USA). She had participated narativa prati slika naslovne stranice, na kojoj je Austria, where he met a fellow exile Nikola Kavaja in a number of art and art-related venues on the portret Nininog oca. who would eventually move to USA and form an Born in Welland, Canada, Nina Bunjevac grew up territories of former Yugoslavia like Galerija Glasnik, anti-communist organization Freedom for the Serbian and spent most of her formative years in Yugoslavia; CZKD and Novo Doba Festival, 11th International Nina Bunjevac je rođena u Velandu (Kanada). Fatherland; upon moving to Canada Peter became an between the ages of 2 and 16 she lived on relation Biennale of Illustration Belgrade, where she got the Odrasla je i provela najveći deo svoga školovanja u active member of the group and a close associate of Zemun – Niš, Serbia. Her art training began at the award The Golden Pen of Belgrade; Elektrika, Pančevo; Jugoslaviji. Između svoje 12. i 16. godine, živela je na Kavaja. He died in a mysterious explosion in Toronto Djordje Krstić School for Applied Arts in Niš; in 1990 Kula Janković Stojana, Islam Grčki and Center for relaciji Zemun – Niš. Njeno umetničko obrazovanje in 1977. Nina and her sister Sarah were raised in she moved back to Canada, this time to Toronto, Peace Studies Zagreb. Nina’s collection of comics počelo je u Školi primenjenih umetnosti – „Đorđe Yugoslavia, their upbringing heavily influenced by their where she continued her studies in art at the Art Heartless/Hladna Kao Led came out in 2011/2012 Krstić”, u Nišu; godine 1990. Vraća se u Kanadu, ex-partisan communist grandparents. Fatherland is Centre of Central Technical School; in 1997 she and was this year awarded by The Doug Wright ovoga puta u Toronto, gde nastavlja studije umetnosti not a political pamphlet; it is politically neutral as it graduated from OCAD in the Drawing and Painting Award in the Spotlight category. In 2014 is planned pri „Umetničkom centru” Centralne tehničke škole. attempts to piece together the life of a man whom department. Formerly a painter, a sculptor and an publication of Nina next collections of comics entitled Godine 1997. Diplomirala je na OCAD-u na katedri za Nina has no memory of. The book is a compilation of art teacher, Nina found her calling in sequential arts, Fatherland. crtanje i slikanje. Kao nekadašnja slikarka, vajarka i the narratives by Nina’s mother, grandmother, sister a form that seemed to naturally evolve out of the jasmina ibic dolazaka predstavlja živi zapis odakle dokle su te koji daruju iskustvo – umetnika. Višak vrednosti ovim rad uvek se tiče nekog konkretnog mesta i konteksta, težnje rasprostranjene. Razigrano Jasminino umetanje predmetima dodaje se kroz njihovo uključivanje u peformativan je po prirodi i obuhvata razne aktivnosti, mitološkog u ovaj činjenični narativ predstavlja privatne kolekcije njihovih vlasnika, i što je još važnije, medije i pozorišne efekte, sa ciljem redefinisanja Rečnik izmišljenih mesta - str.746, Maj, Karl gest koji otkriva fikcionalnu srž čina putovanja u putem umetničkih i dizajnerskih institucija, pri čemu ili preispitivanja postojećeg okruženja ili prostora. Fridrih - 12.06.2006 1:15, 2006. potrošačkom društvu. (Mišel Deinan) ih prvi uključuju u svoje kolekcije zbog postojeće Neki od skorijih radova i projekata Jasmine Cibic objekat umetničke vrednosti (a efektivno zbog kulturne, prikazani su: u okviru 30. Bijenala grafičkih umetnosti Bez naziva, 2009. nacionalne, subjektivne, tržišne i ideološke vrednosti) u Ljubljani; projekat Za našu ekonomiju i kulturu u Enciklopedija zamišljenih predela iz svetske XX vek, 2010. koju im je dodelio svet umetnosti isključivo zbog Slovenačkom paviljonu na 55. Venecijanskom bijenalu; književnosti, Rečnik izmišljenih mesta, autora instalacija/ objekat, fotografije ikoničnog imena njihovog tvorca. Postoje razni razlozi na U3 – 7. Trijenalu savremene umetnosti u Muzeju 16 17 A. Mangela i G. Guadalupea predstavlja više od zbog kojih se neki predmet nađe u kolekciji. Potonje savremene umetnosti u Ljubljani; DistURBANces/ 1200 opisa izmišljenih gradova, ostrva, zemalja Nova serija radova Jasmine Cibic istražuje nivoe je mesto koje omogućava sastanak posmatrača i LandEscape; Narodni istorijski muzej u Luksemburgu; i kontinenata. Ksanadu, Ruritanija, Šangri-La, značenja onih predmeta koji su u Zapadnoj kulturi i predmeta koji okida unutrašnji iskustveni proces. Borderline, Muzej Joanneums u Gracu; Bus-Tops, Atlantida, Utopija, Oz i Zemlja čuda su samo neka od civilizaciji prepoznati kao „okidači“ iskustva. Suveniri Unutar fiktivne kolekcije koju Jasmina prikazuje u Londonski projekat Kulturne Olimpijade 2012; Objekt fantastičnih mesta na koje čitalac može otputovati iz drugih zemalja, fiktivne ikone, fotografije, dizajnirani ovoj seriji, i ptice grabljivice i umetnički radovi/stalci spektakla, Galerija Škuc, Ljubljana... Dobitnica je u mislima. Rečnik izmišljenih mesta Jasmine predmeti i, očigledno – na vrhu društvene lestvice su posmatraču dostupni na isti način. Mogućnost brojnih nagrada, među kojima „Bevilacqua la Masa”, Cibic fokusira našu pažnju na pojmove prizvane vrednosti – umetnički radovi, svi predstavljaju iskustva u ovom slučaju ne zavisi od činjenice da li nagrade „Trend” za izuzetna postignuća u vizuelnoj predstavama ovih mesta iz mašte. U pitanju je instrumente koji omogućavaju posmatraču da iskusi je uključivanje u kolekciju bilo lične, kritičke, tržišne, umetnosti u Sloveniji, a nominovana je za nagrade metafikcija koja se infiltrira u autoritativnu predstavu ono što je iz raznih razloga nedostižno direktnim idealističke ili političke prirode i nije sam predmet „Premio Furla” i „Vordemberge-Gildewart Award”. činjeničnih informacija ne bi li otkrila utisnute želje putem, i iz tog razloga predstavlja višak vrednosti taj koji omogućava iskustvo, već kontekstualni okvir koje ove istine dele sa fikcijom. Rečnik izmišljenih (mitski, subjektivan, vođen tržištem, estetski, u koji se ubacuje. Iskustvo je drugačije ukoliko se mesta je prva u nizu intervencija Jasmine Cibic na politički, kulturni i idealni) upravo i upisan u ove okvir kolekcije unutar koje se izloženi predmet nalazi Dictionary of imaginary places -p.746, May, Karl ljubljanskom aerodromu, jedinom međunarodnom predmete. Jasmina Cibic istražuje razloge ovih razlikuje. Prikazani predmeti, koje je umetnica pažljivo Friedrich - 12.06.2006 1:15, 2006 aerodromu u Sloveniji. promena vrednosti, kao i procese, odnosno uslove rekonstruisala od ili prema stvarnom modelu, nikada Object samog iskustva kojim se one omogućavaju. Serija nisu fizički prisutni u okviru serije XX vek. Posmatrač U ono vreme, skorašnji ulazak države u EU označio XX vek sastoji se od serija fotografija na kojima su vidi samo njihovu fotografiju. U okviru te fizičke A. Manguel’s and G. Guadalupe’s encyclopedia of je povećanje avio-saobraćaja, pa je 2006. započeo prikazane ptice grabljivice koje stoje na nečemu što odsutnosti predmeta, može se uspostaviti dovoljna fantasy lands from world literature Dictionary of rad na proširenju aerodroma. Uz proširenje je u prvi mah podseća na stalak za ptice. Ove ptice distanca koja omogućava uvid u fetišizaciju, koja je u Imaginary Places, presents over 1,200 entries of došao i redizajn infrastrukture, što je dovelo koje je čovek prvobitno koristio kako bi zadovoljio stvari pravi aktivator uspostavljanja iskustva. Samo imaginary cities, islands, countries and continents. do promena u iskustvu posetioca aerodroma. svoje osnovne potrebe, tek naknadno postaju kada Jasmina Cibic ukloni predmet i zatvori vrata Xanadu, Ruritania, Shangri-La, Atlantis, Utopia, Oz Tokom procesa redizajniranja, a u saradnji sa nosioci statusa i simbol potrage za luksuzom. U toj iskustvu, omogućeno je da se ekonomija subjektivnih, and Wonderland, are just some of the fantastical aerodromskim inženjerima, Cibiceva je učitala tački, njihovi vlasnici zamenjuju njihovu upotrebnu materijalnih, političkih, kulturnih, umetničkih i ostalih places for the reader to mentality traverse. Cibic’s jedinstveni kompjuterski program u aerodromske vrednost za vrednost kultivisanog iskustva prirode. vrednosti koje je utvrdilo zapadno društvo XX veka Dictionary of Imaginary Places calls our attention informacione sisteme; tako su sva imena stvarnih Unutar samog procesa pomeranja od upotrebnog otkrije pred posmatračem. Upravo se ta ekonomija to notions evoked through representations of these destinacija prikazanih na tabli polazaka i dolazaka do trofejnog predmeta, prepoznajemo ispuštanje i danas podsvesno prihvata kroz kontekst, koji sve invented sites. It is a metafiction that infiltrates an avionâ bila zamenjena fiktivnim destinacijama iz sentimentalne, kulturne, socijalne i tržišne vrednosti vreme obeležava očiglednu ikoničnu direktnost authoritative representation of factual information to Rečnika izmišljenih mesta. Do te intervencije je prema posmatraču. Možda se upravo iz tog razloga, predmeta. (Petja Grafenauer, iz kataloga U3 – 6. reveal the embedded desires these truths share with došlo bez prethodnog obaveštavanja javnosti, kada pravi trofeji koje je buržoazija prikupila u dalekim trijenala savremene umetnosti u Sloveniji, 2010) fiction. Dictionary of Imaginary Places was the first in su putnici čekali poslednji let za Istanbul. Softver zemljama menjaju lažnim replikama, potrošačkom a series of interventions by Jasmina Cibic at Ljubljana koji je umetnica iskoristila da informacije pretvori u robom koja nema ništa od prave i istinske suštine Jasmina Cibic živi na relaciji London – Ljubljana Airport, Slovenia’s only international airport. dezinformacije je isti program koji sada kontroliše one stvari koje se treba sećati. Sličnost se može i pripada novoj generaciji umetnica i umetnikâ rastuću bazu podataka stvarnih mesta koja se unose izvući putem zamene do koje dolazi između plakata iz Slovenije čiji rad, iako, svestan specifičnog The country’s at-the-time-recent entry into the EU na tablu polazaka i dolazaka na aerodromu. Savremeni umetničkog dela i pravog umetničkog dela – oba nacionalnog, političkog, kulturnog i umetničkog meant increased air traffic, and in 2006, expansion putnik primoran je da se podvrgne nadležnosti ukrašavaju stan vlasnika, ali samo je jedno od njih porekla, stvara veoma karakterističan, sebi svojstven work began at the airport. With expansion comes međunarodnog aerodroma i prinuđen da veruje prava stvar. Stalci na fotografijama Jasmine Cibic na jezik. I dok se bavi sličnim teorijskim i političkim the redesign of infrastructure, producing changes in njegovoj logici. U tom prostoru, činjenice vezane za kojima se odmaraju grabljivice su, u stvari, predmeti pitanjima predstavljenim u radovima drugih umetnika the airport visitor’s experience. During the redesign, posao odlaska na putovanje prepliću se sa težnjama kojima Zapadno društvo XX veka pridaje izuzetno post-komunističke Evrope, Jasmina Cibic funkcioniše Cibic, in collaboration with the airport’s engineers, povezanim sa samim putovanjem. Tabla polazaka i visoku vrednost, koja im je udahnuta od strane onih u globalnom, a ne nacionalizovanom diskursu. Njen uploaded a unique computer program to the airport’s information systems. This replaced all titles of actual their use value with that of a cultivated experience allows an insight into the fetishization that is in fact Joanneums Museum Graz; Bus-Tops, a London 2012 destinations displayed on the departures/arrivals of nature. Within this process of shift from utility the real activator of the setting up of experience. It Cultural Olympiad project, London; The Object of board, with fictitious destinations from the Dictionary object to trophy object we recognize a release of is only when Cibic removes the object and closes the Spectacle, Galerija Škuc, Ljubljana… She is the of Imaginary Places. This intervention happened sentimental, cultural, social and market value towards the door upon experience that the economics of the recipient of many awards including Bevilacqua la with no prior notification to the public, when the the viewer. Perhaps it is for this reason that genuine subjective, material, political, cultural, artistic and Masa, Trend Award for outstanding achievements in passengers were waiting for the last flight of the day trophies, gathered on the voyages of the bourgeoisie other values which were established by western 20th visual art in Slovenia and a nominee for Premio Furla to Istanbul. The software the artist used to transform in far away lands, are substituted by fake replicas, century society are unveiled in front of the viewer. It and Vordemberge- Gildewart Award. information into dis-information, is the same program consumer goods and souvenirs which have none of is these economics that is still today subconsciously that now controls the growing database of actual the real essence itself of the thing which is supposed accepted through the context, which all along marks 18 19 places being fed to the departures/arrivals board at to be remembered in the first place. A similarity can the apparent iconic directness of the object. (Petja the airport. The contemporary traveler must submit be drawn with the substitution which takes place Grafenauer, from the catalogue of U3 - 6th Triennial of to the jurisdiction of an international airport and is between a poster of a work of art and a real work of Contemporary Art in Slovenia, 2010) compelled to trust its logic. In this space, the facts art, both decorate the apartment of the holder but of the business of making a journey are interwoven only one is a genuine article. The perches in Cibic’s Currently based between London and Ljubljana, with the aspirations associated with travel. The photographs on which the birds of prey sit are in Jasmina Cibic is one of a new generation of Slovenian departures/arrivals board presents a live record of fact objects to which 20th century western society artists whose practice, though acutely conscious from where to where those aspirations are bound. attributes extremely high values, breathed into them of a specific national political, cultural and artistic Jasmina Cibic’s playful insertion of the mythological by the giver of experience – the artist. The surplus lineage, creates a very distinctive language of its within this factual narrative is a gesture that reveals value of these objects is added to by their inclusion own. Whilst she clearly shares and addresses some of the fictional heart to the act of consumptive traveling. into the personal collections of their owners, but the same theoretical and political concerns present (Michelle Deignan) more importantly by the art and design establishment in the work of other artists from a post-communist prior to this, the former including them within her/ Europe, Cibic operates within a global rather than Untitled, 2009 his collection for the existing artistic value (and nationalized discourse. Her work is generally site and 20th Century, 2010 effectively their cultural, national, subjective, market context specific, performative in nature and employs Installation / object, photographs and ideological value) assigned to them by the art a range of activity, media and theatrical tactics to world solely because of the iconic name of their maker redefine or reconsider an existent environment or The new series of work from Jasmina Cibic takes as in the first place. There are various reasons for which space. Jasmina Cibic’s recent projects and exhibitions its theme an investigation into the level of meanings objects are included within a collection. The latter include: 30th Biennial of Graphic Arts, Ljubljana, of those objects to which the West has ascribed being a space which allows the meeting of the viewer For our Economy and Culture, the Slovenian pavilion the ability to trigger experience. Souvenirs from and the object that triggers the internal process of at the 55th Venice Biennial; U3 – 7th Triennial of other lands, fictional icons, photographs, design experience. Within the fictitious collection that Cibic Contemporary Art, Museum of Contemporary Art objects and obviously – on top of the social ladder of portrays in her series, the birds of prey and the art Ljubljana; DistURBANces/LandEscape, Musée values – works of art, are all instruments that allow works/perches are both accessible to the viewer national d’Histoire et d’Art, Luxembourg; Borderline, the viewer to experience that which is for various in the same way. The possibility of experience is in reasons unattainable directly, and it is for this reason this case not dependent upon the fact as to whether that a surplus value (mythical, subjective, market the inclusion within a collection was of a personal, driven, aesthetic, political, cultural and ideal) is critical, market led, ideal or political nature and it is inscribed within these objects in the first place. Cibic not the object itself which allows the experience, but explores the reasons for these shifts in values and the contextual framework within which it is inserted. JASMINA CIBIC Dictionary of Imaginary Places-p.746, May, Karl Friedrich - 12.06.2006, 01:15 the processes and conditions of experience itself The experience is different if the framework of the / Rečnik izmišljenih mesta- str. 746, Maj, Karl Fridrih – 12.06.2006, 01:15, 2006 under which these are made possible. The series collection within which the exhibited object is placed objekat / object 20th Century consists of a series of photographs is different. The objects on display, which Cibic ko-produkcija 54. Oktobarski salon / co-production 54th October Salon which depict birds of prey resting on what seem to carefully reconstructs from or after a real model, fotografija / photo by Ana Kostić be at a first glance perches. These hunting birds, are never physically present within the series 20th initially used by man to satisfy basic requirements, Century. The viewer merely meets its photographic only later become bearers of status and a symbol of image. It is only within this physical absence of the luxurious pursuit. At this point their owners substitute object that a sufficient distance is established which 20 21
JASMINA CIBIC 20th Century / XX vek, 2010, JASMINA CIBIC 20th Century / XX vek, Perch for Erathopius ecaudatus (P. Starck) instalacija / installation; fotografija/ photo by Ana Kostić / Stalak za Erathopius ecaudatus (F.Stark), 2010, instalacija / installation; fotografija / photo by Ana Kostić lana č majčanin 166987 Pricks, 2012 Embroidery
166987 Uboda, 2012. Through the medium traditionally associated with vez “women’s work” the brutally frank language of sexual power is rendered in the quiet, gentle craft Preko medija tradicionalno povezivanog sa „ženskim of embroidery. There is an obvious enjoyment of poslom“, brutalno iskreni govor seksualne moći rađa the tension that this produces, a relish redoubled se s tihim, nežnim zanatom veza. Postoji očigledno by double entendre. Explicit content ironically 22 23 uživanje u tenziji koju vez proizvodi, naslada commenting relationships, offers, demands, udvostručena dvostrukim značenjem. Eksplicitni positioning, stereotypes, expectations and experience sadržaj ironično komentariše odnose, ponude, (within the art system). zahteve, pozicioniranje, stereotipe, očekivanja i iskustvo (u sistemu umetnosti). Lana Čmajčanin studied the Academy of Fine Arts, Sarajevo, where she is also based. Formally Lana Čmajčanin studirala je na Akademiji lepih trained sculptor, she though uses a variety of media umetnosti u Sarajevu, gradu u kome trenutno živi i like video-performance, installations, site specific radi. Kao diplomirana vajarka, koristi razne medije, works and sound installations. Lana is a co-founder poput video performansa, instalacija, tematskih of the Association for Art and Culture Crvena and radova i zvučnih instalacija. Lana je suosnivačica member of the Association of Visual Artists of Bosnia i članica Asocijacije za umetnost i kulturu Crvena and Herzegovina. She has participated in many i članica Udruženja vizuelnih umetnika Bosne i international exhibitions, recent includes: NGBK, Hercegovine. Učestovala je u brojnim međunarodnim Berlin (Spaceship Yugoslavia); Art- Point Gallery, izložbama, od kojih u poslednje vreme: NGBK, KulturKontakt Austria, Vienna, (I Advocate Feminism); Berlin (Spaceship Yugoslavia); Art- Point Gallery, 1st Time Machine Biennale of Contemporary Art, KulturKontakt Austrija, Beč, (I Advocate Feminism); Konjic; Center for Contemporary Art, Tel Aviv, 1st Time Machine Bijenale savremene umetnosti, (Prolonged Exposure); El Parqueadero, Bogotá, Konjic; Centar za savremenu umetnost u Tel Avivu, Colombia (Decolonial Aesthetics); Gallery Atopia (Prolonged Exposure); El Parqueadero, Bogota, – film & videokunst, Oslo, Norway; Gallery P74, Kolumbija (Decolonial Aesthetics); Gallery Atopia Ljubljana, (Global South), ISCP, New York, (Secondary – film & videokunst, Oslo, Norveška; Galerija P74, Witness), Good Children Gallery, New Orleans, (That Ljubljana, (Global South), ISCP, Njujork, (Secondary Passes Between Us), MMC KIBLA, Maribor, (I will Witness), Good Children Gallery, Nju Orleans, (That never talk about the war again),
INES DOUJAK Loomshuttles / Warpaths – Čunkovi / Ratne staze, 2010- Eccentric Archive / Ekscentrična arhiva, 2010-
Haute Couture / Visoka moda posters, book, textile / posteri, knjiga, tekstil; fotografija / photo: Joana Dias 28 29
INES DOUJAK Loomshuttles / Warpaths – Čunkovi / Ratne staze, 2010-
Eccentric Archive / Ekscentrična arhiva, 2010 - Haute Couture / Visoka Moda posters, book, textile / posteri, knjiga; fotografija / photo by: Ana Kostić efemerki potrebe projekta Retrospective Exhibition project, i of tradition. koja znači da je neka osoba „sopstvena baka”. *Auto-grandma: word coined by Ephemerki for „Lele” metod, 2011-2013. the needs of the Retrospective Exhibition project, performans The Lele Method, 2011–2013 meaning someone is their own grandmother. Performance „Lele” je jedna od najčešće korišćenih reči u Makedoniji. „Lele” metod stvoren je zarad pukog Lele is one of the most frequently used words in postojanja te reči. Umetnice su ovoj reči ― koja Macedonia. The Lele Method (and it’s applicability) 30 31 je u preteranoj upotrebi u svakodnevnom govoru derives from, and it was created only due to the mere u Makedoniji ― dodelile konkretnu relevantnost i existence of the word. By naming a method Lele (with različitu formu; upotrebom „Lele” metoda, one su je a word that is overused in the Macedonian everyday
stavile na pečat. Načinile su je, dakle, „nepoznatom“ speech) and putting it on a stamp, the artists gave EPHEMERKI The Lele Method / Metoda Lele , 2013 i „teškom“, i time produžile proces njene percepcije. the word a particular relevance and a different form. performans / performance; produkcija 54. Oktobarski salon / produced Pokušale su da uklone automatizam percepcije i We made it “unfamiliar” and “difficult”, and by that, by 54th October Salon; Photo by Ana Kostić tako dobile novu perspektivu te reči. Sličnu tehniku we prolonged the process of perception of that word. su u književnoj kritici koristili ruski formalisti, kako By trying to remove the automatism of perception, bi razlikovali prozu od poezije, dok su je umetnici we got a new perspective of the word. This technique koristili kako bi diferencirali i odložili percepciju. was used in the literary criticism by Russian formalists Odlaganjem percepcije, umetnice pomažu ljudima to differentiate prose from poetry, and so the artists da defamilijarizuju nešto što im je poznato i da use it to differentiate and to delay perception. iskuse savremeno i konceptualno (u umetnosti) kroz Delaying the perception, so the artists, helps samooslobađanje od diskurzivnog prtljaga i vizuelnih people de-familiarize the familiar and to experience referenci. Pitanje koje se postavlja nije ― da li je contemporary and conceptual (art) through liberating nešto ovakvo moguće, već i da li tome treba težiti? themselves from the discursive baggage and visual Apsurdnost performansa ne ostavlja to pitanje bez references. The question is not only if something like odgovora. this is possible but also if it should be strived for? The ridiculousness of performance leaves the questions Efemerki čine Dragana Žarevska i Jasna Dimitrovska, not unanswered … umetnice iz Skoplja, koje rade zajedno od 2011. Vole da dešifruju poeziju kroz ljubav i začikavanje Ephemerki are Dragana Žarevska and Jasna akademske rigidnosti. Njihov rad je kombinacija Dimitrovska, artists from Skopje who have been teorije, prakse i proaktivnih antistres komponenti. U working together as a duo since 2011. They like svom pokušaju da prevedu lokalnu stranu tradicije decoding poetics through loving and teasing the pripovedanjem, nevinim lažima i blefom, prave rigidity of academia. Ephemerki’s work is a crossover rezervoar neologizama i stvaraju liminalne realnosti, between theory, practice and proactive anti stress poput one kada su ubeđivale ljude da istovremeno components. In their attempt to translate the local jesu i nisu jedna drugoj baka ili auto-baka*. Naziv side of tradition with the help of storytelling, innocent Ephemerki potiče od imena Bapchorki – ansambla lies and bluff, they are coining a pool of neologisms nekoliko baka koje su pevale tradicionalne and creating liminal realities like the one with makedonske pesme u polifonom nazalnom stilu. persuading people that they both are and are not their Naziv Ephemerki takođe sugeriše da je taj „dvojac“ own grandmothers or auto-grandmas*. The name of efemerna savremena verzija Bapcorki, ili, u najmanju the duo is a funny derivate of Bapchorki - a band of ruku, da su one te koje se bave prolaznim aspektom few grannies who used to sing Macedonian traditional tradicije. songs in a polyphonic nasal style. It also suggests that Ephemerki are Bapcorki’s ephemeral contemporary *Auto-baka: kovanica koju su smislile Ephemerki za version or, at least, the ones doing the ephemeral part adrijana g vozdenović efektivno i povoljno. Evo sada... 6th November, I bought coffee, laundry detergent, basic elements, of course. Inspirativni multimedijalni događaj one pack of tomatoes and baguettes. Coffee spilled Do you recognize a potential moment in everyday life? koji se pretvara u odličan party, naravno. on the stove and I felt that my grandmother was We drank and danced until the day after tomorrow Hvala Vam na poseti i vidimo se uskoro, 2013. Pružam ništa više od onoga što svako poznaje present. It was a sunny day.” After scanning, a and were critical to the marginal, of course, instalacija/ knjiga i crteži zemlju, brašno i pepeo different combination of drawings and bills wasn’t but anecdotalism is weeds to the art. osnovne elemente, naravno. possible anymore. The collection of drawings and the The cypress fails to regenerate when it has been cut Hvala Vam na poseti i vidimo se uskoro je naziv Prepoznaješ potencijal trenutka u svakodnevnom? collection of bills became two independent works. through knjige koja se sastoji od skeniranih listova. Jedan Pili smo i igrali do prekosjutra All the used bills in this book form a block in the So, it is associated with death and the underworld, of list odgovara jednom skeniranom crtežu, na jednom i bili kritični ka marginalnom, naravno black book entitled “308.55 euros”. This number course.” (Adrijana Gvozdenović) 32 33 računu. Prvi deo priče odnosi se na pravljenje a anegdotičnost je korov umjetnosti. corresponds to the sum of all taxes of collected bills crteža, a drugi na kolekciju računa, i čini bliskijom Čempres se ne uspijeva regenerisati kad se zasiječe during one school year, which lasted as long as my Adrijana Gvozdenović is from Podgorica, where vezu između, s jedne strane crteža i računa, i s Pa je povezan sa smrću i podzemljem, naravno.” visa. Six laminated sheets with drawings correspond she also lives and works. Adrijana completed her druge strane onoga što knjiga predstavlja. „Kada (Adrijana Gvozdenović) to the chapters of the book and/or to the most postgraduate studies of the interdisciplinary graphics sam se vratila u grad, nakon novogodišnjeg odmora present topics in the daily newspapers (politics and at the Faculty of Fine Arts Cetinje, Montenegro provedenog u kući svojih roditelja, kafić je bio Adrijana Gvozdenović je rođena u Podgorici, economy, stories from the past, sports, religion, show and is currently doing her masters of free arts at zatvoren. Počela sam kupovati novine. Kao obaveza gde živi i radi. Završila je postdiplomske studije business, the latest news). Basically, we are what we the Sint-Lucas, Brussels. Adrijana has shown her ili dužnost, nametnuo mi se jos jedan svakodnevni interdisciplinarne grafike na Fakultetu likovnih read, and sometimes what we buy. work at solo exhibitions at Center of Contemporary ritual. Pregledavanje novina i odabir fotografija umjetnosti na Cetinju i trenutno je na master Art, Podgorica and BM:UKK gallery Vienna and has koje ću preslikati na pausu. Moja meditacija, moj studijama na univerzitetu Sint-Lucas u Briselu. Afterparty, 2012 participated at group exhibitions: St-Lucas gallery, zadatak koji mora da iskazuje stav… Na taj dan, 6. Adrijana je izlagala svoj rad na samostalnim izložbama Installation / sculpture Brussels; Association of Artists of Montenegro, novembra kupila sam kafu, prašak za pranje veša, u Centru za savremenu umetnost u Podgorici i u Podgorica National Center of Contemporary Art, pakovanje paradajza i baguettes. Kafa se prosula po BM:UKK galeriji u Beču, a učestvovala je i u grupnim “First, I play with dolls. In the same way I did many Yekaterinburg and the Museum of Contemporary Art ringli i na kratko sam osjetila kao da je moja baka izložbama u galeriji univerziteta u Briselu; Udruženju years ago, I project onto them my desires, fears and “Erato”, Saint Petersburg; gallery Josip-Bepo Benković, prisutna. Bio je sunčan dan.” Nakon skeniranja, umetnika Crne Gore, Nacionalnom centru za passions. A bit of sculpting, a bit of witchcrafting. I Herceg Novi; Center for Contemporary Art Cetinje; drugačija kombinacija crteža i računa nije više savremenu umetnost u Podgorici, u Jekaterinburgu, give them my hair, a dead thing that saves energy. Modern gallery, Podgorica. moguća. Kolekcija crteža i kolekcija računa postaju Muzeju savremene umetnost „Erato” u Sankt I’m successfully finishing an art process of emotional dva nezavisna rada. Svi računi koji su korišćeni u Peterburgu; u galeriji „Josip-Bepo Benković” u Herceg transfer to the dolls. In the meantime, I read knjizi formiraju blok u crnoj knjižici, koji nosi naslov Novom; Centru za savremenu umetnost na Cetinju; u announcements in the newspaper. I can write poems, „308,55 eura”. Ovaj broj odgovara sumi poreza svih Modernoj galeriji u Podgorici. as well, effective and affordable. Here, now … sakupljenih računa. Računi su sakupljani u toku An inspiring multimedia event jedne školske godine, koliko je trajala moja viza That turns into a great party, of course. za vani. Šest laminiranih listova u kojima su crteži Thanks for your visit and see you soon, 2013 I offer nothing more than others know – odgovaraju poglavljima u knjizi i/ ili temama koje Installation / book and drawings soil, flour and ash su najzastupljenije u dnevnim novinama (politika i ekonomija, priče iz prošlosti, sport, religija, show Thanks for your visit and see you soon – Merci de votre biznis, najnovije vijesti. U suštini, mi smo ono sto visite a bientot – Bedankt voor uw bezoek en tot ziens čitamo, a ponekad smo i ono što kupujemo. is the title of the book, which consists of scanned pages. One page is equal to one scanned drawing Posle žurke, 2012. on one bill. The fiirst part of the story is referring to instalacija/ skulptura the drawings and the other to the collection of bills made in relation to each other by the artist: “When I “Prvo se igram lutkama. Kao kad sam bila mala, returned to the city after the New Year’s holiday, the utjeravam im svoje želje, stahove i strasti. Malo vajam, cafe was closed. I started to buy newspapers. As an malo vračam. Stavljam im svoju kosu, mrtva tvar obligation or duty, another daily ritual was created. ADRIJANA GVOZDENOVIĆ Thanks for Your Visit and See You Soon koja čuva energiju i uspješno završavam umjetnički It was about browsing newspapers and a selecting / Hvala na poseti i do skorog viđenja, 2013; instalacija, knjiga i crteži proces utjerivanja emocija u lutke. U međuvremenu of photos that I will draw to a paper. My meditation, / installation, book and drawings; fotografija / Photo by Tina Smrekar čitam oglase u novinama. Mogu i ja da pišem stihove, my task that must have an attitude ... That day, on 34 35
ADRIJANA GVOZDENOVIĆ Thanks for Your Visit and See You Soon ADRIJANA GVOZDENOVIĆ Posle žurke / Afterparti, 2012 / Hvala na poseti i do skorog viđenja, 2013; instalacija, knjiga i crteži skulptura / sculpture; fotografija / Photo by Tina Smrekar / installation, book and drawings; fotografija / Photo by Tina Smrekar flaka h aliti Kastilje, Leon, Španija; ZKM Muzej savremene as having a good or bad connotation. In this case, the as MUSAC, Museum of Contemporary Art of Castile umetnosti u Karlsrueu; Weltkulturen Museum u landscape of the drawings becomes a space of desire and León, Spain; ZKM Museum of Contemporary Frankfurtu; Kosovskoj nacionalnoj galeriji, Bijenalu u to enter, as it creates a border/freedom for your Art, Karlsruhe; Weltkulturen Museum, Frankfurt; Ja, ti i sve koje znamo, 2010-2013. Briselu, u Centru za savremenu umetnost „Stacion” physicality to experience. Kosovo National Gallery; BRUSSELS BIENNIAL 1; video instalacija u Prištini; Galeriji „Siemens ArtLab” u Beču; press Prishtina; Stacion – Center for Contemporary Art to exit project space u Skoplju; Muzeju savremene Flaka Haliti lives and works between Munich, Prishtina; Siemens ArtLab Gallery, Vienna; press to Rad je nastao kao rezultat iskustva umetnice nakon umetnosti Vojvodine „Napon”, Novi Sad; Bijenalu Prishtina and Vienna. Her work is conceptual, based exit project space, Skopje; Museum of Contemporary izvođenja rada My Balls/Moja muda, 2008. Umetnica „SpaPort u Banja Luci, „Haus der Kulturen der Welt” on mix media. She graduated in 2006 from the Art Vojvodina, Napon, Novi Sad; SPAPORT BIENNIAL, je, u ritualnom (gerilskom) gestu, prinela životinjske u Berlinu; galeriji „Portikus” u Frankfurtu. Dobitnica Academy of Arts, Prishtina University and continued Banja Luka; Haus der Kulturen der Welt, Berlin; 36 37 testise na „oltar“ jedne galerije u njenom rodnom je prve nagrade „Poljoprivreda i bankarstvo“ koju su her education at the Städelschule/Staatliche Portikus, Frankfurt Main. She is a winner of the First gradu ― Prištini. Ja, ti i sve koje znamo je video organizovale Städelschule i Rentenbank. Od 2013. Hochschule für Bildende Künste, Frankfurt am Prize of “Agriculture and Banking”, organized by animacija dijagrama, koja pokušava da opiše položaj godine je na doktorskim studijama na programu Main. Her work has been shown in solo and group Städelschule and Rentenbank. Beginning in 2013, she umetnika i umetnica u istoriji umetnosti i unutar Akademije likovnih umetosti u Beču. exhibitions, including spaces and institutions such became a PhD student at the PhD in practice program sistema moći, kroz mapiranje misli. Animirani dijagram at the Academy of Fine Arts Vienna. se stalno kreće, ilustrujući poteškoću zamrzavanja položaja, a zatim se na to pridodaje usloženost čitanja Me, You and Everyone We Know, 2010–2013 i osmišljavanje dobijenog materijala. Video installation
Postati svestan istorijskog stanja našeg života znači ne Me, You and Everyone We Know emerged as a result samo biti u stanju promišljanja, koliko god kritičkog, and continuation of the artist’s experience following već iznad svega, uticati na to, imati sposobnost her work My Balls, 2008, in which the artist in a ritual intervencije u tom stanju i praktično ga promeniti. like (guerilla) gesture brought animal testicals to the Samo u tom slučaju možemo reći da ostvarujemo “altar” in a gallery in her hometown of Prishtina. It is iskustvo od istorijskog stanja našeg života (Boris a video animation diagram that attempts to describe Buden u: „O drugoj strani budućnosti”) the position of male and female artists in art history and within systems of power through a mind map. Ispod ove tačke neophodne su kapuljače, 2013 The diagram animation keeps moving, illustrating the crteži difficulty of freezing those positions; and then there is the added complexity of reading it all, making sense Rad je referenca na pisani znak upozorenja. Govori of it. o mestima opasnosti kroz koje se ne može proći bez FLAKA HALITI Me, You and Everyone We Know pokrivanja, maske ili kapuljače... uslov za mobilnost To become aware of the historical condition of our life / Ja, ti i sve koje poznajemo, 2010-2013 objekta. Time se stvara metafora za različite situacije means not only to be able to reflect on it, however video instalacija / video installation; ko-produkcija 54. Oktobarski salon u kojima se „kapuljača” može iščitati u dobroj ili lošoj critically, but above all, to influence it, to have the / co-production 54th October Salon; konotaciji. U ovom slučaju pejzaž napravljen od crteža ability to intervene in this condition and practically fotografija / photo by: Ana Kostić postaje mesto želje za ulaskom, jer kreira granicu/ change it. Only in this case may we say that we make slobodu za otelotvorenje iskustva. an experience of the historical condition of our life. (Boris Buden, in “On the other side of future”). Fljaka Haljiti, umetnica iz Prištine, živi i radi na relaciji Minhen, Priština i Beč. Njen rad je Hoods Required Beyond This Point, 2013 konceptualan, zasnovan na kombinaciji različitih Drawings medija. Fljaka je diplomirala 2006. na Akademiji
umetnosti Univerziteta u Prištini i nastavila je da se The work is referential to the written label like a sign FLAKA HALITI, Ispod ove tačke potrebne školuje na Städelschule/Staatliche Hochschule für warning. It speaks of the danger area that you cannot su kapuljače / Hoods Required Beyond This Bildende Künste, u Frankfurtu. Njen rad izlagan je u pass through without a cover, a mask or a hood.... an point, 2013, crteži, drawings okviru samostalnih i grupnih izložbi, u prostorima i object required for mobility. This creates a metaphor fotografija / photo by: Ana Kostić institucijama kao što su Muzej savremene umetnosti for diverse situations where the hood could be read róza e l-hassan skorašnjih izložbi su: Syrian Voices – QrcodesforSyria timeline shows the main events in Syria, the collective series of performances, lectures and talks (with Shadi – serija performansâ, predavanjâ i razgovorâ (sa mood and my mood on each day through my blog. The Alshhadeh et. al.) in Switzerland (HSLU, Helmhaus; Šadi Alšhadeh i drugima) u Švajcarskoj (HSLU, faces and voices and tears of Syrians meanwhile fill City Gallery of Zürich; Kunsthalle St.Gallen; Geneve Šeruj, 2013. Helmhaus; Gradska galerija u Cirihu; Kunsthalle Sent all my room, all my life, and appear in space.” (Roza Ecole des Art et Design; and CIMAM Conference at crteži, printovi, instalacija/ objekat Galen; Ženeva, Škola umetnosti i dizajna; i CIMAM El-Hassan) SALT Art Center, Istanbul; Steirischer Herbts, Graz, konferencija u SALT umetničkom centru, Istanbul; Austria; Art Basel in Art Radio Le Desir; ‘Something „Iz dana u dan, mnogi od nas Sirijki i Sirijaca gaje Steirischer Herbts, Grac, Austrija; Art Basel in Art Róza El-Hassan spent childhood in Germany, You should know, the artist as Producer’ (with nadu da će čuti glas naših sunarodnica i sunarodnika Radio Le Desir; Something You should know, the artist Westfalen and moved 1987 to Budapest. Róza Elisabeth Lebovice) at Ecole des Hautes Etudes en koji trpe zločin protiv čovečnosti. Pre početka as Producer (sa Elizabet Lebovice) u Školi za visoke studied at Hungarian Academy of Fine Arts, Painting Sciences Sociales, Paris; ‘BagHHHHdad’ (with Salam 38 39 sirijske revolucije, šerovala sam dnevne događaje, studije društvenih nauka, u Parizu; BagHHHHdad Department; Städelschule, Frankfurt a. M. and Haddad and Urnamo group) Gandy Gallery, Bratislava; porodične slike, društveni život na svom facebook (sa Salamom Hadadom i Urnamo grupom) Gandy Intermédia Department, MKF; as well as Social ‘Some Stories’ women’s video narratives from profilu. Sada brojim stotine i stotine dana sirijske Gallery, Bratislava; Some Stories video narativi žena iz Design: (with a DLA thesis on Traditional Romani Arab World, Iran and Turkey (with Gerald Matt) at revolucije. Dok pišem ove redove, 5. aprila 2013. arapskog sveta, Irana i Turske (sa Geraldom Matom) Handcraft and Contemporary Design) at the Kunsthalle Wien and “Reflecting Fashion”, MUMOK, godine, biće 729 dana od početka sirijske revolucije u Kunsthalle u Beču i Reflecting Fashion, MUMOK, Hungarian Academy of Fine Arts. Since 1992 Róza Museum Moderner Kunst, Vienna; “The Jerusalem – mislim. Brojanje dana je formalno povezano sa On Museum Moderner Kunst, Beč; The Jerusalem Show exhibits regularly her objects and drawings – which Show”, at Al-Ma’mal – Palestinian Foundation for Kavarinim konceptulizmom, ali je pre svega vežba u Al-Ma’mal – Palestinska fondacija savremene are also a part of numerous art collections – at Contemporary Art in East Jerusalem, “Belonging”, samodiscipline: da ujutru ne zaboravim svoj facebook umetnosti u Istočnom Jerusalimu, Belonging, solo and group exhibitions and collaborates with Sharjah Biennial, Sharjah (United Arab Emmirates) profil i da održavam nivo svesti o humanitarnoj Sharjah Biennial, Sharjah (Ujedinjeni Arapski Emirati) numerous artists and theoreticians as well she “DisOrientation”, Contemporary Art Production from katastrofi i o sirijskoj umetnosti, a posebno da ne DisOrientation, savremena umetnička produkcija develops curatorial, social intervention and social Arab Countries; Haus der Kulturen der Welt, Berlin zaboravim da će jednog dana režim i nasilje prestati arapskih zemalja; Haus der Kulturen der Welt, Berlin... design projects. Her recent (collaborative) exhibition etc. – bez obzira koliko prilježno morali da brojimo projects include: ‘Syrian Voices – QrcodesforSyria’ - dane. Jednog dana, mir će doći u našu zemlju. Ovako provodim dan-za-danom, mnoge sate ispred Share, 2013 kompjutera u svojoj sobi u Budimpešti, ponekad po Object, prints, drawings ceo dan, i šerujem najsnažnije slike, umetničke radove RÓZA EL-HASSAN Share / Šeruj , 2013 brojnih sirijskih umetničkih i dokumentarnih Internet “Day by day, many of us Syrians share the hope that objekat, instalacija / object, installation; fotografija / photo by: Ana Kostić stranica. Budući da je reakcija umetnikâ, umetnica, some people will hear the voice of Syrians suffering aktivistiknja i aktivista iz Sirije neverovatno brza, moj from crimes against humanity. Before the Syrian profil prikazuje glavne događaje u Siriji, kolektivno revolution started I shared daily events, family raspoloženje i moje sopstveno, svakodnevno pictures, social life on my timeline. Now I can count raspoloženje preko bloga koji pišem. Lica, glasovi i in the hundreds the days of the Syrian Revolution suze sirjiskog naroda u međuvremenu ispunjavaju celu on my Facebook timeline. Today, when I write moju sobu, ceo moj život, i deo su i ovog prostora.” these lines, April 5, 2013, it is Day 729 of the Syrian (Roza El-Hasan) Revolution – I think. Counting the days is formally connected to On Kawara’s conceptualism, but it is Roza El-Hasan je studirala slikarstvo na Mađarskoj first at all an exercise in self-discipline, to not forget akademiji likovnih umetnosti, potom u Frankfurtu my Facebook timeline in the mornings and to keep na Städelschule na katedri za Intermedije i socijalni up awareness for the humanitarian disaster and for dizajn. Doktorirala je u Budimpešti sa doktorskom Syrian art, and mainly, not to forget that one day disertacijom o tradicionalnim romskim zanatima the regime and violence will end – no matter how i savremenom dizajnu. Od 1992, Roza redovno steadfast we have to count the days. One day, peace izlaže svoje predmete i crteže (koji su ujedno i deo will come to our country. This way, I spend day-in, brojnih umetničkih kolekcija) na samostalnim i day-out many hours in front of my computer in my grupnim izložbama i sarađuje sa brojnim umetnicima, room in Budapest, sometimes all day, and share the umetnicama, teoretičarima i teoretičarkama, razvija strongest images, artworks from the countless Syrian kustoske prakse i radi na projektima socijalne art and documentary webpages. Since the reaction of intervencije i socijalnog dizajna. Neke od njenih the artist and activists, Syrians is incredibly fast, my endy h upperich eksperimentalnim postavkama, kao naučni uzorci. 34 Perspectives on Contemporaneity, 2013; lay-outs, like scientific samples. The focus however, Fokus, međutim, nije na kontinualnoj zajedničkoj niti, Flexilegs, 2012; Food for Little, 2013; World of is not on the continuous common thread, but in the 34 viđenja savremenog trenutka, 2013; Fleksibilne već je u smislu mreže mnogo različitih, presecajućih, Magic, 2011; Lutschi-foli, 2011 sense of a network of many different, intersecting, noge, 2012; Hrana za malo, 2013; Svet magije, pojavljujućih i nestajućih sličnosti; (na kraju i jeste Paintings, oil on canvas appearing and disappearing similarities; (it finally 2011. zadatak posmatrača da rekonstruiše ove sličnosti u is the task of the viewer, to reconstruct these slike, ulje na platnu njihovom sinopsisu – Teoreiji – kao celinu). Since the early 90’s much is said (and gladly so) of similarities in their synopsis - Theoreia - as a whole). the „iconic turn “- or better the „pictorial turn “ within Od početka devedesetih, mnogo je rečeno (i drago mi Ne samo da konvencionalne granice individualnih the realm of arts and social sciences. It states (in Not only the conventional boundaries of the individual slika postaju zamućene, već postaju i granice žanra, linguistic analogy, but opposing the briefly before painting become blurred, also those of the genre, 40 je da je tako) o „ikoničnom zaokretu” ― ili, još bolje, 41 „likovnom zaokretu” u oblasti umetnosti i društvenih medija i tehnika; „klasične” slike, crteži, komadi philosophically postulated „linguistic turn “ in terms of media and techniques: „classical “painting, drawings, nauka. Navodi se (prema lingvističkoj analogiji, ali urađeni sprejem i šabloni, kolaži i izdvojeni objets content), that our knowledge of the world, that human spray pieces and templates, collage and singled out u suprotnosti sa nedavno filozofski postavljenim trouvés, murali, fotokopije različitih veličina i izvedbe, thinking itself is not inevitably formed linguistically, objets trouvés, murals, variously sized and plotted „lingvističkim zaokretom” u smislu sadržaja) da se okviri i paspartui, dvodimenzionalni i skulpturalni but at least to an equal degree, and more than photocopies, frameworks and passe-partouts, flatware naše saznavanje sveta, to jest, sama ljudska misao elementi komuniciraju i sudaraju se, suprotstavljaju ever expected, also via images. (The drawback of and sculptural elements communicate and collide ne formira neizbežno lingvistički, već makar u istoj i komentarišu jedni druge, podjednako živahno kao the iconographic turn are the cultural pessimistic with, contrast, and comment each other, just as lively meri, a više nego očekivano, takođe i preko slika, i konstantno migrirajući i mutirajući, de- i rekon- warnings of an almost apocalyptic plethora of as the constantly migrating and mutating, de- and mana ikonografskog zaokreta u kulturno-pesimistička tekstualizovani komadi neraspoređenosti, koje pictures, emblems, Logos etc., in which all hopes on recontextualized pieces of disalignment, which they upozorenja na skoro apokaliptično mnoštvo slika, prikladno prikazuju. Pomenute tendencije/stategije su truth, clarity, and legibility tragically fade. Pictures display accordingly. These tendencies/strategies amblema, logoa itd. u kojima svaka nada za istinom, paradigmatski prikazane u skorašnjim instalacijama act as sovereign, autonomous and particular form are displayed in Hupperich’s recent installations in jasnoćom i čitljivošću tragično bledi. Slike deluju Huperiha. Takođe postaje evidentno koliko snažno of existence, which do not have to be linguistically a paradigmatic way. It also becomes evident, how kao suvereni, autonomni i konkretni oblici postojanja i koliko ozbiljno je Huperih posvećen razmatranju developed and translated nor which solely function as strong and how seriously Hupperich is devoted to koji se ne moraju lingvistički razvijati ni prevoditi, slika („glavnih predmeta u shemi percepcije” ― Sigrid indicators or symbols for other contents. Those who reflections on paintings („main objects within the niti isključivo funcionišu kao pokazatelji, odnosno Vajgel), i ne samo slika. Ironično, međutim, pri have studied the development of the fine arts since scheme of perception “- Sigrid Weigel), and not simboli za drugi sadržaj. Oni koji su proučavali razvoj posmatranju ovih mešano-medijskih, nehijerarhijskih the beginning of modernity, are well aware of this only to painting. Ironically however, while regarding likovne umetnosti od početka modernosti veoma su i razuzdano rastućih ikonotipova, takođe postaje aspect, as a fundamental basis of the development these mixed-medial, non-hierarchical and rampantly svesni ovog aspekta, kao fundamentalne osnove za evidentno koliko je zapanjujuće virtuozan i raznovrstan itself. (Accordingly, contemporary art could react growing iconotypes, it also becomes evident, what sam razvoj. (U skladu s tim, savremena umetnost bi slikar Endi Huperih (Peter T. Lenhart). calmly or even bored to such „impulses of realization“ an amazingly virtuosic and versatile painter Endy mogla da reaguje smireno, ili čak s dosadom na takve of their observers…). Hupperich is. (Peter T. Lenhart) „impulse realizacije” njihovih posmatrača). Endi Huperih živi i radi na relaciji Minhen-Meksiko Endy Hupperich’s work reflects such thoughts Siti, gde je radio kao gostujući profesor na Akademiji intelligently and multidimensional - a cognition Endy Hupperich lives and works between Munich and Rad ovog umetnika reflektuje takve misli inteligentno likovnih umetnosti u Meksiko Sitiju. Endi je diplomirao via images, within today’s world of images. What Mexico City, where he worked as a guest professor i višedimenzionalno – spoznaja preko slika, unutar na Akademiji likovnih umetnosti u Minhenu (kod may at first sight resemble Pop-art or a form of at the Academy of Fine Arts in Mexico City. Endy sadašnjeg sveta slika. Ono što na prvi pogled izgleda profesora Helmuta Šturma) i izlagao uglavnom post-modern quotationism, is possibly rather painted graduated from the Academy of Fine Arts in Munich kao pop-art ili oblik post-modernog citiranja više je u Meksiku i Nemačkoj, pored ostalog u Muzeju media theory, or even - ontology: a measurement of (with Prof. Helmut Sturm) and has exhibited mainly naslikana teorija medija, ili čak – ontologija: mera savremene umetnosti u Šturmu, Muzeju Karilo Gil, the world, a measurement of the space, which the in Mexico and Germany, e.g. at the Museum of sveta, mera prostora, koji slike obuhvataju, a time Muzeju Makej u Meridi Meksiko. Od 2008, uglavnom paintings encompass. Thus also the much too rarely Contemporary Arts of Oaxaca, the Museum Carillo takođe i izuzetno retko razmatranog prostora između radi u Minhenu, kao asistent na Akademiji likovnih considered space between the actual paintings. Gil, the Museum Macay in Merida Mexico. Since konkretnih slika. Stoga, tradicionalni, odvojeno umetnosti. Slike Endija Huperiha na ironičan način Therefore the traditional, separately composed and 2008 he is mainly working in Munich, as an assistant komponovani i naslikani samodovoljni umetnički odražavaju spoznaju savremene vizuelne kulture i painted self-sufficient artwork plays a diminishing teacher in the Academy of Fine Arts in Munich. Endy rad sve manje igra ulogu za Huperiha, dok pojam ideologije. Ono što, na prvi pogled, može da izgleda role for Hupperich, while the notion (so to speak) of Hupperich’s paintings reflect ironically and in a (takoreći) međupovezanih slika postaje sve više kao pop-art isečak, više je teorija slikanih medija, interrelated paintings becomes increasingly more multidimensional way cognition and contemporary bitan. Na taj način, različite slike postaju uzajamno ili čak vizuelna ontologija; merenje sveta, merenje important. Thereby the various paintings are mutually visual cultures and ideologies. What may, at first sight referencijalne, upućujući na implicitan, opšti kontekst. prostora. referential, as well as towards an implicit general seem as a pop-art quote, is more a painted media Motivi i komadi pritvornog stila, svi izvučeni iz context. Motives and pieces of mock-style, all taken theory, or even visual ontology: a measurement of the empirijske vizuelne realnosti koja okružuje Huperiha out of the empirical visual reality which surrounds world, a measurement of the space. (kao jednog od nas, među nama, sa nama) ponovo Hupperich (as one of us, among us, with us), are se preraspoređuju u stalno novim kontekstima i realigned in ever new contexts and experimental >> ENDY HUPPERICH 34 Perspektiven zur Gegenwart / 34 Perspectives on ENDY HUPPERICH World of Magic / Svet Contemporanity / 34 viđenja savremenog trenutka, 2013 magije, 2011; ulje na platnu / oil on canvas ulje na platnu / oil on canvas; fotografija / photo by: Ana Kostić fotografija / photo by: Ana Kostić
42 43 gözde i lkin prekrivaču, oslikavajući postojanje paralelnih svetova. There are too many stones..., 2012 Hunters shot each other, 2012 Izjava, 2012. Embroidery Embroidery Previše je kamenja..., 2012. vez vez “I live and work in Istanbul. I use various techniques This is a headline from a newspaper I found. It is Politički odnosi i dijalozi su me inspirisali za motive in my work, such as stitching, drawing / painting about two ‘killers’ who became ‘victims’ at the same „Živim i radim u Istanbulu. Koristim razne tehnike na ovoj tkanini. Prikazala sam lik autoritativne figure and installation; I use found objects and fabric as time. I stitched and painted these hunter figures on u radu, poput veza, crtanja/slikanja i instalacije. koja drži govor. Pitanje koje postavljam je – da li ova the bases of my works. I collect things to create my a duvet cover for kids. The hunter motifs deface the Koristim pronađene predmete i tkanine kao osnovu za (njegova) „izjava” koja se sastoji od ponavljanja, krije personal archive and use them in accordance with duvet motifs to represent the relationship in and the 44 45 svoje radove. Sakupljam stvari kako bih stvorila svoju istinu i time manipuliše njom? my objectives/themes in my art, such as official presentation of this duality. ličnu arhivu i koristim ih u skladu sa svojim ciljevima/ manipulation, urban transformation, political and temama u okviru svoje umetnosti, poput oficijelne Turbulencija, 2012. social relationships and border issues. Statement, 2012 manipulacije, urbane transformacije, političkih i vez Embroidery društvenih odnosa i graničnih pitanja. These works were exhibited in the exhibition Ovaj rad je baziran na materijalu na kome su ‘Certificate off-origin’ in March 2013 at artSümer The motif on this specific fabric reminded me of Ovi radovi su u martu 2013. bili prikazani na izložbi primenjene tehnike kao što su: kolaž, akril i šivenje.” gallery Istanbul. At the exhibition, I constructed/ political relationships and dialogues. Here, the Potvrda porekla u galeriji „artSümer” u Istanbulu. Na (Gözde Ilkin) staged a micro system from my collection that authority figure recites a speech. Can this ‘statement’, izložbi sam konstruisala/postavila mikro sistem, koji described the social and political relationships in which consists of repetitions, conceal the truth opisuje društvene i političke odnose u Turskoj. Gozde Ilkin je živela u različitim regionima Turske Turkey. therefore manipulating it? dok nije počela da studira slikarstvo (Fakultet lepih Radim na različitim pronađenim tkaninama poput umetnosti Univerziteta Mimar Sinan i Univerzitet I work on different found fabrics, such as tablecloths, Turbulence, 2012 stolnjaka, zavesa, jorgana, koji su pripadali mojoj ili Marmara), kada se preselila u Istanbul. Gozde radi curtains, duvets, which come from my family and Embroidery nekoj drugoj porodici. Za mene, pronađene tkanine sa kombinovanim medijima, uglavnom sa, kako ona relations. For me, found fabrics characterize the karakterišu identitet domaćinstva i porodice. to zove, akumuliranim stvarima: slikama, pričama, identity of households and families. Sometimes I use This is a work on found fabric onto which collage, Ponekad koristim ove tkanine kao pozornice koje mi fotografijama, predmetima i tkaninama koje joj these fabrics as stages that allow me to install my acrylic and stitching techniques have been applied.” omogućavaju da na njih postavim svoje slike i motive. pomažu da opiše konkretne situacije koje je zanimaju. motifs and images onto them. My motifs and drawings (Gözde Ilkin) Moji motivi i crteži na tkanini oslikavaju kulturne Njena specijalnost je vêz. Na njenim vezenim slikama, on fabrics depict today’s cultural information, political informacije današnjice, političke i društvene odnose i likovi se pojavljuju u obliku amorfnih tela međusobno and social relationships and power. I usually feel like Gözde llkin lived in various regions of Turkey until moć. Ponekad osećam da su moji projektovani motivi i spojenih, uglavnom u predelu glave, stomaka ili my designed motifs and images are interferences on her university years, when she moved to Istanbul slike smetnje na ovim tkaninama. udova. Tela se pojavljuju na površini tkanina, u kojima these fabrics. to study painting (Fine Arts Faculty of Mimar Sinan pronalaze i traže identitet kroz teksture. Često University and Marmara University). Gözde works with Nepristupačan dvostruki grad, 2012. oslobođeni svojih socijalnih i seksualnih identiteta, Inaccessible Double City, 2013 mixed media, mostly with what she calls accumulated vez ti likovi su transformisani, poput dece na izgubljenoj Embroidery things: images, stories, photographs, objects and planeti. Oni se opiru svojim unapred određenim clothes that help her describe particular situations Pronašla sam štampani prekrivač; iskoristila ga kao životima. Učestvovala je u međunarodnim programima I found a printed duvet and used it as a stage she is interested in. Her speciality is stitching. At her pozornicu/pozadinu, na koju sam ušila i naslikala neke razmene umetnika u Holandiji, Nemačkoj, Rumuniji, (background) onto which I stitched and painted some stitched paintings her figures appear as amorphous likove iz vojske, politike, lova i time prikazala odnose Gruziji, Jermeniji, Azerbejždanu i Iranu. Neke od njenih characters referring to the military, politics, hunters, bodies attached to one another mostly at the head, između prirode i urbanih transformacija. Moje figure samostalnih izložbi: Certificate off Origin, Refuge: relationships in nature and urban transformation. My stomach, and occasionally the limbs. These bodies stvaraju aritmiju na ovom motivu. Chorus of Voices from Inside i Please Clear the Dance figures create an arrhythmia on this motif. create an atmosphere for the surface on which they Floor u galeriji artSümer, Istanbul; i Body on Body, find themselves and look for an identity via the texture Lovci pucaju jedni na druge, 2012. Wearable Art, galerija Karşı Art, Istanbul. Prikazivala je of the fabric. Often emancipated from their social and vez svoje radove u okviru grupnih izložbi u galeriji Dr. M. T. sexual identities, these characters are transformed Geoffrey Yeh Art Gallery, Kvins, Njujork; Louis Vuitton, in Ilkin’s work like the children of a lost planet. They Ovaj naslov sam pronašla u novinama. Radi se o Pariz, Francuska; Apartment Project Berlin; ITS-Z1, resist their pre-conditioned lives. Gözde has taken dvojici „ubica” koji su istovremeno postali „žrtve”. Ritopek, Beograd, Istanbul Modern Museum and part in international artist exchange programs in the Našila sam i naslikala ove likove lovaca na prekrivač cda projects, Istanbul, MUMOK, Beč; Lothringer 13, Netherlands, Germany, Romania, Georgia, Armenia, za decu. Motivi lovaca kvare postojeće motive na Minhen; Galerija „Škuc”, Ljubljana i mnogim drugim. Azerbaijan and Iran. Her solo exhibitions include Certificate off Origin, Refuge: Chorus of Voices from Inside and Please Clear the Dance Floor, artSümer Gallery, Istanbul; and Body on Body, Wearable Art, Karşı Art Gallery, Istanbul. She has shown her work at group exhibitions in Dr. M. T. Geoffrey Yeh Art Gallery, Queens, New York, US; Louis Vuitton, Paris, France; Apartment Project Berlin, Germany; ITS-Z1, Ritopek, Belgrade, Serbia, Istanbul Modern Museum and cda projects, Istanbul, Turkey, MUMOK, Vienna, Austria; 46 47 Lothringer 13, Munich, Germany; Škuc Gallery, Ljubljana, Slovenia and elsewhere.
Curator Dunja Kukovec and her daugther Iskra setting up the embroideries by Gözde Ilkin; fotografija / photo by Gözde Ilkin GÖZDE ILKIN Demeç / Statement / Izjava , 2012; Avda birbirlerini vurdular / Hunters Shot Each Other / Lovci pucaju jedni na druge, 2012 GÖZDE ILKIN Statement / Izjava , 2012 vez / embroidery; fotografija / photo by: Tina Smrekar vez / embroidery autorska prava / copy right: Gözde Ilkin adela j ušić Ride The Recoil, 2013 photographs, sound ADELA JUŠIĆ Ride The Recoil *, 2013; kombinovana tehnika / mixed media fotografija / photographs: Ervin Prašljivić; zvuk / audio production: Ognjen Šavija *naziv video igrice / name of the video game; http://canopycanopycanopy.com Ride to Recoil, 2013. The work is based on drawing criticism to recently ko-produkcija 54. Oktobarski salon / co-production 54th October Salon fotografija, zvuk released video game Sniper Ghost Warrior 2. The fotografija / photo by: Tina Smrekar, Ervin Prašljivić, Ana Kostić first person shooter video game, set in besieged Rad je zasnovan na kritici video igrice Sniper Ghost Sarajevo, featuring American snipers who defend the Warrior 2. Ratna video igrica u prvom licu, postavljena city from an attacking army and thus presenting a u Sarajevu pod opasdom, u kojoj su junaci američki historical corrective. In the game, the main task of the 48 49 snajperisti koji brane grad od napadačke armije i time operation called Archangel, which should supposedly predstavljaju istorijski korektiv. U igri je glavni zadatak take place in 1993, is providing evidences of operacije „Arhanđeo”, koja se navodno dešava 1993, genocide, so that the NATO can make an action. After obezbeđivanje dokaza o genocidu, kako bi NATO collecting evidence of genocide, American soldier kills mogao da preduzme akciju. Nakon prikupljanja Marko Vladić (an obvious connotation to Ratko Mladić) dokaza, američki vojnik ubija Marka Vladića (očigledna and puts a stop to the suffering of besieged citizens. konotacija na Ratka Mladića) i stavlja tačku na patnje “Justice for the ghosts of Sarajevo”, says a character građana pod opsadom. „Pravda za duhove Sarajeva“, at the end of this part of the game. kaže lik na kraju ovog dela igrice. The project is initially developed and published by an online New York magazine Triple Canopy in 2013. The Projekat je izvorno producirao i objavio online collaboration and technical support by Ervin Prašljivić njujorški časopis Triple Canopy, 2013. godine, uz and Ognjen Šavija. tehničku podršku i saradnju sa Ervinom Prašljivićem i Ognjenom Šavijom. Adela Jušić lives and works in Sarajevo. Her socially engaged artistic practice originates mostly in personal Adela Jušić živi i radi u Sarajevu. Njena socijalno experience and memory. Adela mainly works in video angažovana umetnost u najvećoj meri potiče od performance, with narration and her voice as main ličnog iskustva i sećanja. Adela uglavnom radi video elements of expression. She mostly uses critical performanse, a naracija i njen glas su glavne metode feminist approach to all the subjects, which are izražavanja. Koristi kritički feministički pristup however often related to (post)war and position of svim temama, koje su, međutim, često povezane sa women in (armed) conflicts. Adela graduated from (posle)ratnim položajem žena i ženama u (oružanim) the Academy of Fine Arts and from the University of sukobima. Adela je diplomirala na Akademiji lepih Sarajevo. Currently she is enrolled at ERMA – Regional umetnosti i na Univerzitetu u Sarajevu. Trenutno Master Course in Human Rights and Democracy. She pohađa ERMA, master studije ljudskih prava is a co-founder of the Association for Culture and Art i demokratije. Suosnivačica je Asocijacije za CRVENA. She has exhibited in numerous international kulturu i umetnost CRVENA. Izlagala je na brojnim exhibitions including Manifesta 8, Murcia, Spain; međunarodnim izložbama, uključujući Manifesta 8, Videonale Kunstmuseum Bonn, Germany; Image Mursija; Videonale Kunstmuseum Bon; Image Counter Counter Image, Haus der Kunst, Munich, Germany; Image, Haus der Kunst, Minhen; I will never talk about I will never talk about the war again, Färgfabriken, the war again, Färgfabriken, Štokholm... Učestvovala Stockholm, Sweden etc. She has participated in je u nekoliko gostujućih umetničkih programa (ISCP, several artists in residence programes (ISCP, New Njujork, Kulturkontakt Beč) i dobitnica je nagrade York, Kulturkontakt Vienna) and was awarded Young „Young Visual Artist Award” za najboljeg mladog Visual Artist Award for the best young Bosnian artist bosanskog umetnika 2010. i nagradu za mlade in 2010 and the Henkel Young Artist Price CEE in umetnike„ Henkel CEE”, 2011. godine. 2011. margareta k er n je povicima i zvuku berze, prebacujući nas iz tišine World Belong?, refers to Kuhle Wampe, oder: Wem Margareta Kern’s work is concerned with the u nasilje spekulativne ekonomije globalnih finansija, gehört die Welt?, the film produced in 1932 by a relationship of performance, narrative and dok bestelesni glas naratorke nabraja delove collective that included Bertolt Brecht, Slaton Dudow participation to different modes of experimental Stanje (i) Tela(o) iz animirane video serije: Kome tela. Ogrebotine, udari i neuspesi ― sve ukazuje and Hans Eisler. In its use of montage and staging, image-making. Through her photography, animation, svet pripada?, 2013. na mogućnost pukotine u sistemu, rupe u okviru, and by focusing on the issues of unemployment, video and installation works, as well as her animacija 9’ 29’’ prostora koji drugačijem dozvoljava da se probije i suicide, proletarian solidarity, collective voice and increasingly collective mode of operating, Kern draws oživi. economic crises at the beginning of 1930s in Weimer the viewer into an implicated space where social, Nova serija eksperimentalnih animiranih video republic, the film serves as an anchor for Kern’s own aesthetic and political relations are questioned. radova Margarete Kern, pod zajedničkim naslovom: Rad Margarete Kern bavi se odnosom performansa, work. The videos that form To Whom Does the World Kern holds a BA in Fine Art from Goldsmiths’ College 50 51 Kome svet pripada? ispituje i istražuje pojavljivanja pripovedanja i participacije u različitim oblicima Belong? thus far are: The State of/and the Body, The (1998), and MA in Visual Anthropology and SE otpora, protesta i kriza, i to putem posmatranja uloge eksperimentalne proizvodnje slika. Kroz njenu Body Economic, Capital and Self (in production) and European Studies from UCL, London (2010). She held tela, glasa i kamere, kao i njihovog odnosa prema fotografiju, animaciju, video radove i instalacije, kao The Audience Member (in production). The first video several residencies, including Durham University vidljivosti, moći i prezentaciji. Naziv serijala Kome svet i putem kolektivnog metoda rada, Kernova gledaoca of the series The State of/and the Body, showing at funded by Leverhulme Trust (2012), the Institute of pripada? upućuje na Kuhle Wampe, oder: Wem gehört poziva u angažovani prostor, u kome se preispituju the 54th October Salon, is made out of a series of Contemporary Interdisciplinary Arts, University of die Welt?, film koji su 1932. napravili Bertold Breht, društveni, estetski i politički odnosi. Kernova je self-sufficient scenes, echoing Brechtian epic theatre Bath (2010) and Milchhoff Studios, Berlin, funded by Slaton Dudov i Hans Ajzler. Kada je reč o montaži diplomirala likovnu umetnost na Goldsmit koledžu device, and casting unruly bodies in action, as they the British Council (2009). Winner of several project i scenariju, kao i fokusu na pitanja nezaposlenosti, (1998), a magistrirala vizuelnu antropologiju i SE struggle to speak out and resist while dragged, or are grants and awards (Arts Council England, British Film samoubistva, solidarnosti proletarijata, kolektivnog evropske studije na UCL univerzitetu u Londonu morphed into a moving mass pushing the police lines. Institute, National Media Museum, The Photographers’ glasa i ekonomskih kriza s početka tridesetih u (2010). Pohađala je nekoliko specijalizacija – na Gallery, UK; Ministry of Culture, Croatia), her work has Vajmarskoj republici, onda je očigledno da je ovaj Univerzitetu u Daramu, uz stipendiju fonda Leverhulme The line drawings in the work, based on photographs, been shown extensively including at the Tate Modern, film poslužio kao neka vrsta inspiracije Margarete Trust (2012), Institutu savremenih multidisciplinarnih some of which already known in the collective Impressions Gallery, INIVA London, Kunsthalle Kern za sopstveni rad. Video radovi koji do sada čine umetnosti Bat univerziteta (2010) i Milhofs studiju imaginary, serve as lines of dissent, control, invasion Budapest, The Bring In Take Out Living Archive/ Kome svet pripada? su: Stanje (i) Tela(o), Ekonomsko u Berlinu, sa stipendijom Britanskog saveta (2009). and erasure. Using the footage filmed by the police, Galerija Kapelica Ljubljana and SC Gallery Zagreb. telo, Kapital i sopstvo (u produkciji) i Deo publike Dobitnica je nekoliko projektnih grantova i nagrada the artist, who participated in the protest, becomes a Born in Croatia, and grew up in Bosnia-Herzegovina, (u produkciji). Prva animacija iz serijala, Stanje (i) (Arts Council, Engleska, Britanski institut za film, body, and voice, represented by the state surveillance Kern lives and works in London. Tela(o), koji se prikazuje na 54. Oktobarskom salonu, Nacionalni muzej medija, Fotografska galerija, camera, then used by the artist to create stop-motion napravljena je od niza pojedinačnih scena, koje Velika Britanija; Ministarstvo kulture, Hrvatska), animation, asking how and when (an artist) begins odražavaju brehtovsku upotrebu „epskog teatra” njeni radovi prikazivani su u INIVA (Tate Modern, to speak politically. The image layers are peeled, i postavku neposlušnih tela u akciji, uhvaćenih Impressions Gallery) u Londonu, zatim u Kunsthalle revealing ‘nothing’ of the screen, flickering and u trenutku pokušaja da progovore i odupru se u Budimpešti, The Bring In Take Out Living Archive - dust morphing into otherness, asking if abstraction, odvlačenju, odnosno stopljenih u pokretnu masu koja Galerija „Kapelica”, Ljubljana i „SC” galeriji u Zagrebu. deletion, removal can act as radical devices, much like gura kordone policajaca. Margareta Kern je rođena u Hrvatskoj, odrasla u Bosni the call of Dadaists for representational failures. A i Hercegovini, a danas živi i radi u Londonu. drawing of a women’s body dragged from the crowd, Linijski crteži u radu, zasnovani na fotografijama od is sharply juxtaposed with screams and bells of the kojih su neke već poznate u kolektivnoj imaginaciji, stock exchange, plunging us from silence into violence služe kao linije nepristajanja, kontrole, invazije i The State of/and the Body from the animated of speculative economy of global finance, while a brisanja. Koristeći snimke koje je napravila policija, video series: To Whom Does the World Belong?, disembodied narrators voice is indexing body parts. umetnica – koja je i učestvovala u protestu – postaje 2013 Scratching, glitching and failures, all point to the „telo i glas” predstavljen državnom kamerom za Animation, 9’ 29’’ possibility of a crack in the system, a cut in the frame, video-nadzor koju potom umetnica koristi da napravi an opening for a different light to pierce through and animaciju, pitajući se kako i gde (umetnica) počinje da The new series of experimental animation videos by be animated. politički progovara. Slojevi slike se ljušte, otkrivajući Margareta Kern, under an overarching title: To Whom „ništavilo“ ekrana, treperenje i sneg koji se pretvara u Does the World Belong? questions and explores drugost, pitajući da li apstrakcija, brisanje i uklanjanje manifestations of resistance, protest, and crises, MARGARETA KERN The State of/and the Body from the animated video series mogu da delaju kao radikalna sredstva, veoma nalik by looking at the role of the body, voice and the To Whom Does the World Belong? / Stanje (i) Telo (a) iz video serije: Kome pozivu dadaista na reprezentacijske neuspehe. Crtež camera, and their relationship to visibility, power and pripada svet? 2013; animacija / animation 9’ 29’’; fotografija / photo by: Ana Kostić tela žene koju vuku dalje od gomile, suprotstavljen representation. The series title To Whom Does the 52 53
MARGARETA KERN The State of/and the Body from the animated video series To Whom Does the World Belong? / Stanje (i) Telo (a) iz video serije: Kome pripada svet? 2013; animacija / animation 9’ 29’’; fotografija / photo by Ana Kostić angela m elitopoulos, je brojnih izložbi i producentkinja audio i video Film and Videofestival of Locarno, Filmfestival published theoretical texts and articles, especially maurizio l azzarato publikacija. Objavila je brojne teoretske tekstove Rotterdam, EMAF Osnabrück, WWV Amsterdam) in collaboration with the sociologist and philosopher i članke, u saradnji sa sociologom i filozofom and in exhibitions and museums (Centre Georges Maurizio Lazzarato, who is an independent Mauricijom Lacaratom, nezavisnim istraživačem, Pompidou Paris; Whitney Museum NY; KW Institut researcher specialized in studies of relationships Asamblaži, 2010-2012. specijalizovanim za studije o odnosima rada, for Contemporary Art and Haus der Kulturen der of work, economy and society. He teaches at the video 60’9’’ ekonomije i društva. Predaje na Univerzitetu u Parizu Welt in Berlin; Kölnischer Kunstverein in Cologne; University of Paris I and is a co-founder of the i suosnivačica je i član uređivačkog kolegijuma Musee d’art Moderne Montreal among others.) She magazine multitudes, where he is now on the editorial Reč je o audio-vizuelnom istraživačkom projektu magazina Multitudes. cofounded the label APRIL, curating exhibitions and board. na kojem su zajedno radili Angela Melitopulos i producing publications on CD and DVD. She has 54 55 Mauricio Lacarato, a bavi se Feliksom Guatarijem i njegovom revolucionarnom psihijatrijskom praksom, Assemblages, 2010–2012 političkim aktivizmom i idejama koje se tiču ekozofije Video 60’ 9’’ i interesovanja za animizam, naročito u brazilskom i japanskom kontekstu. U Guatarijevom radu, Assemblages is a long-term audiovisual research istovetno kao u animističkim društvima, subjektivnost project by Angela Melitopoulos and Maurizio Lazzarato
gubi transcendentni i transcendentalni status koji on Félix Guattari and his revolutionary psychiatric ANGELA MELITOPOULOS, MAURIZIO LAZZARATO karakteriše zapadnjačku paradigmu. Guatarijeva practice, his political activism as well as his ideas Assemblages, 2010–2012; Video 60’ 9’’; fotografija / photo by: Ana Kostić misao može da pronađe zajedničko tlo sa animističkim concerning ecosophy and interest in animism, društvima u shvatanju subjektiviteta. Aspekti especially in the Brazilian and Japanese context. polisemičnog, transindividualnog i animističkog In Guattari’s work and in the same manner as in subjektiviteta takođe karakterišu svet detinjstva, animist societies, subjectivity loses the transcendent psihozu, ljubavničku ili političku strast i strast and transcendental status that characterizes the umetničkog stvaranja. Western paradigm. Guattari’s thought and that of animist societies can find common ground in this Angela Melitopulos živi i radi u Berlinu. Umetnica/ understanding of subjectivity. Aspects of polysemic, istraživačica koja se bavi vremenski određenim transindividual, and animist subjectivity also oblicima umetnosti i pravi eksperimentalne characterize the world of childhood, of psychosis, of jednokanalne snimke, video instalacije, video amorous or political passion and the one of artistic eseje, dokumentarce i zvučne instalacije. Glavna creation. tema njenih radova su migracije i mobilnost, sećanja i naracija. Ona koristi pomenuti medij kao Angela Melitopoulos lives and works in Berlin. vremenski određen medij, koji otkriva mnemoničke i She is an artist/researcher in the time based arts, mikropolitičke procese u dokumentovanju. Studirala who realized experimental single-channel-tapes, je likovnu umetnost na Umetničkoj akademiji u video installations, video essays, documentaries Diseldorfu sa Nam Džun Pajkom. Sarađuje u okviru and sound pieces. Her work focuses on migration/ političkih mreža u Parizu, Italiji, Turskoj i Nemačkoj mobilty, memory and narration. She conceives media i predaje na Akamediji za medijske umetnosti u art pieces in that video technology as a time based Kelnu, Univerzitetu u Postdamu ili Bliskoistočnom medium revealing mnemonic and micro-political tehnološkom univerzitetu u Ankari. Od 1985, njeni processes in documentation. She studied fine arts radovi su nagrađivani i prikazivani na međunarodnim at the Art Academy Düsseldorf with Nam June Paik. video i filmskim festivalima (Berlinale, Festival videa Angela Melitopoulos is collaborating in political i filma u Lokarnu, Filmski festival u Roterdamu, networks in Paris, Italy, Turkey and Germany and EMAF Osnabrik, WWW Amsterdam), kao i u okviru teaches in academic institutions such as the Media izložbi (Centre Georges Pompidou, Whitney Museum, Art Academy in Cologne, in the University of Potsdam Njujork; KW Institut for Contemporary Art and Haus or the Middle East Technology University in Ankara. der Kulturen der Welt, Berlin; Kölnischer Kunstverein, From 1985 her work has been awarded and shown in Keln..). Suosnivačica je etikete APRIL, kustoskinja international video and film festival (such as Berlinale, living d eath c am p se pod jednakim uslovima razgovarati i odlučivati o Robert Jan doktorirao je književnost na Lajden (živi l ogor s mrti) inicijativama i predlozima svih zainteresovanih. (Živi Univerzitetu i dobitnik je Gugenhajm stipendije kao Living Death Camp is a syntagm that requires logor smrti: Izjava) priznanje za svoj akademski rad. Napisao je nekoliko conceptualization. It was coined in order to name two knjiga i poznat je po temeljnom istraživanju pitanja unmarked death camps: The Old Fairground (Staro Living death camp (Živi logor smrti), 2011-2013. Javni forum: 5. oktobar 2013. Hala za teretni pogon vezanih za arhitekturu Holokausta. Nedavno je završio Sajmište), a WWII concentration camp in Belgrade, javni forum/video dokumentacija, izjava, (nekadašnji Nemački paviljon), Auto-kuća Rade knjigu o jevrejskim izbeglicama, a trenutno radi and the camp Omarska in the Prijedor municipality fotografija Končar, Staro Sajmište na knjizi o kulturi turističkih obilazaka nekadašnjih during the war in Bosnia (1992–1995). logora smrti u Nemačkoj i Poljskoj. Između ostalog, Living death camp je sintagma koja zahteva Učesnice i učesnici: Karolajn Stardi Kols (Forenzička interesuju ga istorija i filozofija arhitekture i These concentration camps are places of human 56 57 konceptualizaciju. Nastala je kao pokušaj zajedničkog Arhitektura/ Univerzitet Staforšird), Suzan Šupli urbanizma; istorija Holokausta, nemački logori smrti; destruction that continued to exist after their closure imenovanja dva neobeležena logora smrti: Logora (Forenzička Arhitektura), Ejal Vajcman (Forenzička negiranje Holokausta; i problemi u istoriografiji. as if nothing had happened: at the site of the Omarska „Sajmište” (Semlin Judenlager) u Beogradu (Staro arhitektura), Srđan Jovanović Vajs (Forenzička camp, the exploitation of minerals was continued, sajmište), iz Drugog svetskog rata i Logora „Omarska” arhitektura/ Univerzitet Kolumbija), Robert Jan Grupa Spomenik je teorijsko-umetnička grupa, while The Old Fairground became the residence and u opštini Prijedor (Rudnik Omarska) iz rata u Bosni i van Pelt (Univerzitet Waterloo), Srđan Hercigonja okupljena oko problema nemogućnosti izgradnje i workplace of several generations of people after Hercegovini (1992-1995). (Četiri lica Omarske) Milica Tomić (Grupa Spomenik/ imenovanja spomenika iz rat(ov)a u bivšoj Jugoslaviji WWII. The camps Old Fairground and Omarska, Četiri lica Omarske), Branimir Stojanović (Grupa 90-ih. U poslednjih deset godina, Grupa Spomenik je though they had different structures, were founded in To su mesta uništenja ljudi na kojima je nakon Spomenik) i Jelena Petrović (Grupa Spomenik/Red pokrenula čitajuće i diskusione grupe, organizovala different historical material circumstances, have been njihovog zatvaranja nastavljen život i rad kao da Min(e)d). predavanja i performanse i bila angažovana u procesu undergoing an unconcluded process of memorization, se ništa pre toga nije dogodilo: na mestu Logora samoobrazovanja kroz susrete i razgovore sa žrtvama, as well as a process of historical revision and politics „Omarska”, nastavljena je eksploatacija rude, dok Living Death Camp (Živi logor smrti): saradnja počiniocima i svedocima užasnog terora, genocida of negation, to this date. je Logor „Sajmište” postalo mesto života i rada više između Forenzičke arhitekture (Goldsmits, i etničkog čišćenja u tim ratovima. Grupa Spomenik generacija ljudi nakon Drugog svetskog rata. Logori Unvierzitet u Londonu), Grupe Spomenik i projekta smatra da su sistemi predstavljanja i prikazivanja Every suggested solution concerning the „Sajmište” i „Omarska”, iako nastali u različitim Četiri lica Omarske iz Beograda. „Živi logor smrti” umetnosti naznačeni i u mehanizmu proizvodnje memorization of the Old Fairground, as well as a istorijskim epohama su i danas u nezaključenom naziv je javni forum za diskusije oko politike sećanja rata, nasilja i terora, kao i u ideologiji proizvodnje discussion about the Omarska camp, whether it was procesu imenovanja i istovremeno u procesu istorijske na mestu nekadašnjih logora smrti. Dovodi u pitanje društvenog sećanja, kroz naracije i objekte. a death camp or not, presume a tacit precondition of revizije i politike negiranja. ograničenja memorijala i spomenika i ističe potrebu grupaspomenik.wordpress.com ‘cleansing’ the place of trauma from the people who da se višeslojna sećanja koje mesta nose održe živim live and work on the sites of the former camps. Living Svako ponuđeno rešenje oko memorizacije Logora u javnoj sferi. Projekat Četiri lica Omarske istražuje kompleksni Death Camp is a formulation pointing to the fact that „Sajmište”, kao i diskusija oko Logora „Omarska”, da i dinamični vrtlog istorijskih dešavanja u bivšoj the ‘cleansing’ of people now living and working on li je to bio logor smrti ili ne, podrazumevaju prećutni Forenzička Arhitektura, Centar za istraživačku Jugoslaviji. Polazeći od logora Omarska, kod Prijedora, the sites of the former camps perpetuates the logic of uslov da se mesto stradanja mora najpre osloboditi arhitekturu, Goldsmits, Univerzitet u Londonu, u okviru ovaj projekat preispituje društvena, politička i terror under which the death camps were created. We ljudi koji sada žive i rade na mestima nekadašnjeg katedre za vizuelne kulture bavi se prezentacijom kulturna pitanja koja se tiču nekadašnje Jugoslavije. see in it the automatism of forced repetition, and not logora. Living Death Camp je formulacija koja ukazuje prostorne analize u savremenim pravnim i političkim Centralna tema projekta je uloga ekstremnog a memory of the traumatic events. na to da ‘čišćenje’ ljudi koji sada žive i rade na forumima. Tokom istraživanja, mapiraju se, fotografišu nasilja u procesu privatizacije društvene imovine u mestima nekadašnjih logora zadržava logiku terora i oblikuju mesta nasilja u okvirima međunarodnog bivšim jugoslovenskim republikama. U martu 2009. Living Death Camp intends to reverse the dominant pod kojim su napravljeni logori smrti. U tome vidimo humanitarnog prava i ljudskih prava. Kroz svoje javne godine, inspirisana političkim stavom teksta Pavla logic of power in which the right of memory belongs automatizam prisile ponavljanja, a ne sećanje na aktivnosti, postavlja forenzičku arhitekturu u širi Levija (Grupa Spomenik) Kapo iz Omarske, kojim to states, nations and experts. In other words, Living traumatični događaj. istorijski i teorijski kontekst. Forenzička arhitektura je pokrenuto pitanje etike vizuelnog, Milica Tomić Death Camp thinks that all the present hegemons sastoji se kako od iznošenja tvrdnji, tako i od izgradnje konceptualizovala je projekat Četiri lica Omarske. U in the process of decision-making regarding Living Death Camp preokreće dominanatnu logiku foruma; uči nas da arhitektonska istraživanja nisu u junu 2010, inicirala je osnivanje istoimenog projekta memorization – the state, the municipal government, moći u kojoj pravo na sećanje imaju države, nacije i sukobu sa arhitektonskom izgradnjom, već da zavisi sa učesnicima iz svih oblasti humanističkih nauka, sa the international community, international courts, stručnjaci. Drugim rečima, Living Death Camp smatra, od iste u pravljenju prostora (foruma/diskusije) u statusom stalnih ili povremenih članica i članova. representatives of capital – have to be placed in da sve današnje hegemone u procesu odlučivanja o kojima se sprovodi istraživanje (terenski rad). parenthesis, and it maintains that a plenum should memorizaciji: državu, gradske vlasti, međunarodnu www.forensic-architecture.org be formed at the site, at which initiatives and zajednicu, internacionalne sudove, predstavnike Living Death Camp, 2011–2013 suggestions of people who live and work there as well kapitala, treba staviti u zagradu, i zalaže se za to Gost: Robert Jan Van Pelt (Škola arhitekture, Public forum / video documentation, statement, of all the concerned sides would be discussed and da se na tom mestu pokrene plenum na kome će Univerzitet Voterlu, Ontario) Istoričar kulture i pisac, photography taken into consideration under equal conditions. (The Living Death Camp: Statement) Cultural historian and author, Robert Jan earned a conceptualized the project Four Faces of Omarska. In D.Litt. from Leiden University and has been awarded a June 2010, she initiated the founding of Radna grupa Public forum: October 5th, 2013 Hall for Cargo (used Guggenheim Fellowship in recognition of his scholarly ‘Četiri lica Omarske’ [Working Group ‟Four Faces of to be German Pavilion), The Company Rade Končar, work. He has written several highly acclaimed Omarska] with participants ranging from all walks of The Former Fairground books, and he is world-renowned for his extensive the humanities, involved either as its permanent or research into issues surrounding the architecture periodic members. Participants: Caroline Sturdy Colls (Forensic of the Holocaust. He recently completed a book on Architecture/ Staffordshire University), Susan Jewish refugees from Nazi persecution, and he is Schuppli (Forensic Architecture), Eyal Weizman presently working on a book on the culture of tourist 58 59 (Forensic Architecture), Srđan Jovanović Weiss trips to the death camps in Germany and Poland. (Forensic Architecture/ Columbia University) Robert Research interests include: History and philosophy Jan van Pelt (University Waterloo), Srđan Hercigonja of architecture and urbanism; the history of the (Four Faces of Omarska) Milica Tomić (Monument Holocaust; German extermination camps; Holocaust Group/Four Faces of Omarska), Branimir Stojanović denial; problems in historiography. (Monument Group) and Jelena Petrović (Monument Group/Red Min(e)d) The Monument Group The Monument Group is an art-theory group Collaboration between The Forensic Architecture gathered around the problem of the impossibility of (Goldsmiths, University of London), the Monument constructing and naming monuments of the war(s) Group and the Four Faces of Omarska project from of the 1990s in Yugoslavia. During the last ten years, Belgrade. The Living Death Camp as the public The Monument Group has initiated reading and forum opens discussions around the politics of discussion groups, staged lecture-performances commemoration surrounding former death camps. It and was engaged in the process of self-education questions the limits of memorials and monuments, through encounters and discussions with victims, and emphasizes the need for the multiple memories of perpetrators, and witnesses of the extreme terror, a place to be kept alive in the public sphere. genocide, and ethnical cleansing in the wars of the 1990s in Yugoslavia. The Monument Group considers Forensic Architecture, Centre for Research that the system of representation and display of Architecture, Goldsmiths University of London, within art are implicated in the mechanisms of producing the Department of Visual Cultures war, violence, and terror, but also in the ideology of Forensic Architecture refers to the presentation producing social memory – through its narratives and of spatial analysis within contemporary legal and objects. political forums. The project undertakes research that maps, images, and models sites of violence within The Project: Four Faces of Omarska the framework of international humanitarian law and Four Faces of Omarska is an ongoing investigation human rights. Through its public activities it also of a complex vortex of historical dynamics in the situates forensic architecture within broader historical former Yugoslavia. Starting from the particular site and theoretical contexts. Forensic Architecture of Omarska mine near the city of Prijedor in northern
is constituted both by acts of claim-making and Bosnia, this research project engages social, political, LIVING DEATH CAMP / ŽIVI LOGOR SMRTI, javna diskusija / public discussion in collaboration the practices of forum-building. Teaching us that and cultural questions that concern the entire region with the Forensic Architecture, Goldsmiths, University of London, architectural research cannot be opposed to of the former Yugoslavia. The main question of this the Monument Group and the Four Faces of Omarska project , Auto kuća Rade Končar, architectural construction, but in fact depends upon it project is the role of extreme violence in the process hala za teretni pogon; fotografija / photo by Duško Jelen for producing the spaces (forums) in which research of privatization of socially owned property in former (fieldwork) can resonate. Yugoslav republics. In March 2009, inspired by the political position of Pavle Levi’s [Grupa Spomenik] text Guest: Robert Jan Van Pelt (School of Architecture, “Kapo iz Omarske” [Kapo from Omarska] that raised University Waterloo, Ontario) the question of the ethics of the visual, Milica Tomić karen m irza, okruženja je direktno povezana sa centriranjem prakse searchlight, ever-present at each and every flashpoint. upon collaboration, dialogue and the social. Since brad b utler koju Karen i Bred dele kada je reč o saradnji, dijalogu On a moonscape, confronted with a picket that 2007 they have pursued a strain of practice entitled i shvatanju društvenog. Godine 2007, pokrenuli becomes a riot, an ur-dictator, personification of the The Museum of Non Participation. This ongoing su praksu pod nazivom „Muzej ne-participacije”. ‘Deep State’, blurts stupefying, hot-air abstractions of body of work confronts (non) participation and the Država u državi, 2012. Ovaj kontinuirani proces rada suočava se sa (ne) neo-liberalism. socio-political in art works. This Museum consistently Film, 45’ participacijom i društveno-političkim u umetničkom evolves through the geo-political ground upon which radu. Muzej se razvija na osnovu geo-poltičkog, u Karen Mirza and Brad Butler have worked together its works are produced and presented, in keeping Država u državi je film Karen Mirze i Breda Butlera okviru koga se radovi proizvode i predstavljaju, u since 1998, and in 2004 formed no.w.here, an with its initial formation. Thus far this work has been koji je osmišljen i napisan u saradnji sa autorom skladu sa njegovim inicijalnim formiranjem. Do sada artist-run space for the production, discussion and presented in Egypt, Pakistan, Germany and the UK. 60 61 Čajnom Mjevil. Naslov filma je preuzet turski termin ovaj rad je predstavljen u Egiptu, Pakistanu, Nemačkoj dissemination of practices engaged with the moving Brad and Karen’s political alignment directly informs „Derin Devlet” koji znači „država u državi; vlada u i Velikoj Britianiji. Političke pozicije sa kojih Karen i image, politics, technology and aesthetics. no.w.here’s not only the content of their work but their collective senci”. Iako je njeno postojanje nemoguće proveriti, Bred rade ne tiču se samo sadržaja njihovog rada, već role as a cooperative environment is directly related approach to production. ova zatamnjena uvezanost posebnih interesa i tajnih i njihovog kolektivnog pristupa proizvodnji. to the centering of Mirza and Butler’s own practice veza je mesto gde stvarna moć preživljava i gde se prave fundamentalne odluke – odluke koje su često u suprotnosti sa spoljašnjim utiskom demokratije. Deep state, 2012 Amorfan i nevidljiv, uticaj ove države u državi se Film, 45’ ogleda u regularnim delovima filma – najjasnije se suočava u svojim promišljenim odgovorima povodom ‘Deep State’ is a film by Karen Mirza and Brad Butler narodnih protesta i legalizovanih postupaka nasilja i that has been scripted in collaboration with author suzbijanja, ali isto tako gromoglasno odjekuje duboko China Miéville. The film takes its title from the ispod, ponavljajući poziv-i-odgovor između retoričkih Turkish term ‘Derin Devlet’, meaning ‘state within the pozicija i kontra-jezika, u znaku podignute pesnice, state’. Although its existence is impossible to verify, bačenog kamena, kretanja gomile, okupiranja koje this shadowy nexus of special interests and covert provocira odgovarajuću reakciju u formi policijske relationships is the place where real power is said to kontrole, napada pendrekom, sprejom, atentatima. reside, and where fundamental decisions are made – decisions that often run counter to the outward Moćan tok u ovoj tekućoj plimi istorije, pritisak i impression of democracy. povlačenje kompetativnih snaga je vešto osvetljen Amorphous and unseen, the influence of this deep živopisnom montažom ponovo filmovanih arhivskih state is glimpsed at regular points throughout snimaka. Sudaranje prošlosti, sadašnjosti i the film – most clearly surfacing in its reflexive budućnosti prati kontinuitet u kome se isti repetativni responses to popular protest, and in legislated acts obrasci odigravaju. Nasuprot pozadine važnih, of violence and containment, but also rumbling and istorijski rezonantnih vibracija, večna buntovnica, reverberating, deeper down, in an eternally recurring ili ‘butovnautkinja’ izdvojila se kao reflektor, call-and-response between rhetorical positions and uvek prisutan na svakoj i za svaku tačku žarišta. counter-languages, in which a raised fist, a thrown Na mesečevoj površini, suočena sa onim sto će rock, a crowd surge, an occupation provoke a postati pobuna, sa Ur-diktatorom, personifikacijom corresponding reaction in the form of a police charge, države-u-državi, izleće zapanjena u vreli talas a baton attack, a pepper spray, assassinations. apstrakcija neoliberalizma. A powerful undertow in the ongoing tide of history, this push and pull of competing forces is deftly Karen Mirza i Bred Batler rade zajedno od 1998, illuminated in a vivid montage of newly filmed and
a 2004. su osnovali no.w.here, prostor koji kao archive footage. Collided together, past, present KAREN MIRZA, BRAD BUTLER umetnici vode i u kome žive i koji zapravo predstavlja and future trace a continuum, in which the same in collaboration with China Miéville / u saradnji sa Kinom Mevil mesto proizvodnje, razgovora i širenja praksi koje su repetitive patterns are played out. Against a backdrop Deep State / Duboko stanje , 2012 angažovane pokretnom slikom, politkom, tehnologijom of momentous, historically resonant demonstrations, video. 45’; fotografija / photo by: Ana Kostić i estetikom. Uloga no.w.here-a kao saradničkog an eternal rioter, or ‘riotonaut’, is picked out, as if by a museum of n on „plastika“ koja se širi i skuplja i ujedno je nestabilna i become obsessed by images of women being dragged political plastic that expands and contracts that is participation (k aren rastegljiva. Muzeje povezuje hijerarhija i isključenost, across the street in the 68 (anti war movement) in both unstable and malleable. Museums interrelate mirza, r achel a nderson) društvena kritika i (post)kolonizacija. Dakle, Muzej Grovensor Square, London. The images of grainy hierarchy and exclusion, social critique and (post) ne-participacije sadrži svoju institucionalnu kritiku black and white archival material was the start of our colonization. So The Museum of Non Participation u samom nazivu, ali ipak ne pretenduje da bude conversation about unattached militant feminists and embeds its institutional critique in its very title — Patrijarhalni sat, 2013. pravi muzej. Umesto toga, on putuje kao mesto, the forces of oppression. yet it releases itself from being an actual museum. Instalacija, nedokumentovani događaj slogan, pano, performans, novina, film, intervencija, Instead it travels as a place, a slogan, a banner, a zanimanje – situacije koje tom muzeju omogućavaju My name is Daku Rani, Bandit, Fugitive, Witch, Hex, performance, a newspaper, a film, an intervention, Šta znači ženama okupljanje na kraju dana, pod da „deluje“. Muzej ne-participacije ne dezavuiše Dreamer. an occupation— situations that enable this museum 62 63 okriljem noći i budnim okom meseca. Podsećamo umetničke predmete, već nastoji da ih pomeri sa to “act.” Thus the Museum of Non Participation does se lova na veštice iz prošlosti, koji je poslužio njihove centralne pozicije unutar domena umetnosti. The revolution wont be led by red flags and the sound not disavow art objects, but it is driven to dislodge za uništavanje odnosa u zajednici, napravio put of Bella Ciao. It will come like a flood in the night, them from their central position within the field of art. privatizaciji zemljišta, privatizaciji života i društvene Karen Mirza je savremena umetnica koja živi i radi na with boundless power and uncatchable form, with Karen Mirza is a contemporary artist based in London reprodukcije i konačno, poslužio za uništavanje relaciji London-Istanbul. Sarađuje sa Bredom Batlerom inconsistence and unpredictability, it will speak with and Istanbul. She has been collaborating with Brad običnih ljudi... od 1998, s kojim je 2004. osnovala umetnički prostor an invisible voice in a language we wont understand Butler since 1998, and in 2004 formed no.w.here, „no.w.here“, a zatim 2008. Muzej ne-participacije because we never listened before, It will not see us, an artist-run space. Since 2008 they have pursued a Ispisivanje tela, bez misli, radi, pokreni se, zakorači, kao zajedničko mesto stvaralačkog rada kojim se it won’t obey our rational demands or follow the path strain of practice entitled The Museum of Non. This ubrzaj se, ukoči se, drži, sledi unutrašnji pokret, preispituje (ne)učestvovanje i društveno-politički we prepared for it, it will swell and burst, It will be ongoing body of work confronts (non) participation izvrtanje zgloba, težinu leve strane tela na jednom aspekt umetničkih radova. Rejčel Anderson je appalling, misplaced and wreckless, it will prioritise and the socio-political in art works. Rachel Anderson bedru, stezanje kože, pružanje ruke, poluotvorene, samostalna kreativna producentkinja iz Londona. the wrong values, it will dance to the wrong songs and is a freelance creative producer based in London. She zakrivljene, uhvaćene. Razmišljajući o pedagogiji Radi kao producentkinja kolaborativnih projekata laugh in the wrong places, it will be unreasonable, it works as Producer, Collaborative Projects at Artangel otpora i ženskim telima, postala sam opsednuta u organizaciji Artangel, gde realizuje radove izvan will be angry, it will be untamable… (The Museum of where she develops site-specific works outside of slikama žena koje vuku po ulici ‘68 (tokom antiratnih fizičkog prostora institucije, u saradnji sa umetnicama Non Participation) the physical institution, collaborating with a broad protesta) na trgu Grosvenor u Londonu. Crno-bele i umetnicima, pojedinačno i kolektivno. Projekti se range of artists, individuals and communities. Projects zrnaste slike arhiva bile su početak našeg razgovora o manifestuju na različitim lokacijama i situacijama The Museum of Non Participation confronts (non) manifest in a range of different sites and situations neprivrženim militantnim feministkinjama i snagama i u raznim oblicima, uključujući film, instalacije, participation and the socio-political in art works. ‘Non and in varying forms including film, installation, represije. performans i javne intervencije. Participation’ is not a negation; it is a threshold—a performance and public interventions.
Zovem se Daku Rani, Razbojnica, Odmetnica, Veštica, Vračara, Sanjarka. The Patriarchal Clock, 2013 Installation, undocumented event KAREN MIRZA, RACHEL ANDERSON Museum of Non Participation: The Patriarchal Revoluciju neće predvoditi crvene zastave i zvuci Clock / Muzej ne-participacije: Patrijarhalni sat 2013; produkcija 54. Oktobarski salon Bella Ciao. Revolucija će nas zahvatiti kao poplava What does it mean for women to gather at the edge / production 54th October Salon; fotografija / photo by: Ana Kostić usred noći, neobuzdane snage i neuhvatljivog oblika, of the day, under the blanket of the night and the nedosledna i nepredvidiva, govoriće nam nevidljivim watch of the moon. Suspicions are reactivated of the glasom, jezikom koji nećemo razumeti, jer ga nikada historical persecutions of witch hunts which served pre toga nismo čuli. Neće nas videti, neće ispuniti to destroy communal relationships, forwarded the naše razumne zahteve, niti slediti put koji smo joj privatisation of land, the privatisation of life of social pripremili, rasplinuće se i pući, biće zastrašujuća, reproduction and served the destruction of the izgubljena i nepromišljena, davaće prioritet pogrešnim commons… vrednostima, plesaće uz pogrešne pesme i smejati se na pogrešnim mestima, biće nerazumna, biće besna, Scripting the body, no thought, act, move, step into, biće neukrotiva… step up, freeze, hold, follow an internal movement, a twist of a wrist, the weight of the left side of the Muzej ne-participacije preisputuje (ne)učestvovanje body on one hip, the pressure of skin, the reaching of i društveno-politički aspekt u umetničkim radovima. a hand, half open, angled, caught. Reflecting on the „Ne - participacija“ nije negacija, to je prag – politička pedagogy of resistance and women’s bodies, I have nandipha m ntambo predodređen jer se biće konstantno premešta između compulsion to conquer. This uncanny doubling, where the subject occupies želje za dominacijom i čežnje za potčinjavanjem. two opposing sides, suggests Mntambo is dealing with Donekle nelagodan životinjsko/ljudski motiv gura In Nandipha Mntambo’s video work Paso Doble we an internal conflict; a struggle between the masculine Paso Doble, 2011. dijalog u njenom radu preko granice muško/ženske are presented with a similar motif, though in this and feminine impulses. In this context the outcome video, 9’11’ dihotomije, izazivajući dvotaktni spoj između prirode case the male and female characters, denoted via isn’t predetermined as the self is constantly shifting i kulture i racionalnog i iracionalnog, učitavajuči their dress, are locked in this fiery Spanish dance. between desiring dominance and craving submission. U Nevidljivim Furijama Mičela Hejnsa, autor nam se delom u problematizaciju pitanja roda, ali The camera is mostly trained on their lower bodies The uneasy animal/human motif pushes the dialogue predstavlja sliku Pabla Pikasa, Figure pored mora, kao takođe dozvoljavajući njenom radu da ima mnoštvo as they whip around each other as she resists being in her work past the female/male dichotomy, evoking reper kompleksnih odnosa između ljubavnikâ. Rad interpretacija. (Meri Korigal) tamed by the male character, whose movements seem the push-pull between nature and culture and the 64 65 pokazuje delove tela, koji se mešaju i identitete koji more certain, less lively. Is she the victim, is he the rational and irrational, which feed into a conversation se prepliću. Posmatrajući ovo umetničko delo, lik u Rođena u Svazilendu 1982, Nandifa Mntambo conqueror and is the dance just a game where the about gender but allow her work to offer a variety of Hejnsovom romanu tvrdi da ono govori o potčinjenosti magistrirala je likovnu umetnost na Majkelis školi outcome has already been determined? readings. (Mary Corrigall) žene, želji za porazom i muškoj potrebi za osvajanjem. likovne umetnosti Univerziteta u Kejptaunu 2007. Dobitnica je nagrade za najboljeg mladog umetnika … Mntambo tries to unwrite these rules in Paso Doble Nandipha Mntambo graduated with a Masters U video radu Nandife Mntambo, Paso Doble, imamo u oblasti vizuelnih umetnosti Standard banke by conflating the roles. She does this in two ways; in Fine Art from the Michaelis School of Fine Art, priliku da se susretnemo sa sličnim motivom, mada 2011, za koju je producirala nacionalnu putujuću the shadows of the two characters which occupy University of Cape Town, in 2007. She won the u ovom slučaju muški i ženski likovi, prepoznatljivi izložbu Faena. Održala je četiri samostalne izložbe the foreground appear to be fused, forming this Standard Bank Young Artist Award for Visual Art in po svojoj odeći, bivaju uhvaćeni u ovom strastvenom u galeriji Stivenson u Kejptaunu (2007, 2009. i peculiar hybrid creature that is constantly changing 2011, for which she produced the national travelling španskom plesu. Kamera je uglavnom uperena na 2012.) i Johanezburgu (2009.) i svoju prvu evropsku its appearance as the dancers move across the floor exhibition Faena. She has had four solo shows at donji deo njihovih tela, dok se uvrću jedno oko samostalnu izložbu u galeriji Andréhn-Schiptjenko u together. Because they are always joined, their limbs Stevenson in Cape Town (2007, 2009, 2012) and drugog, a ženski lik se opire i bori da ne bude ukroćen Štokholmu 2013. Izbor gruphih izložbi: 3. moskovski become indistinguishable in the shadow. In this way Johannesburg (2009); and held her first European od strane muškog, čiji pokreti deluju kao odlučniji ali bijenale za mlade umetnike (2012.); Kiasma muzej this dark doppelganger becomes the underlying solo exhibition at Andréhn-Schiptjenko, Stockholm, ne toliko okretni. Da li je ona žrtva, a on osvajač i da li savremene umetnosti, Helsinki (2011.); 17. bijenale and inescapable truth that they cannot outrun. The in 2013. Important group exhibitions include the 3rd je ples samo igra čiji je ishod već određen? u Sidneju (2010.); 9. bijenale u Dakaru (2010.); other way in which Mntambo subverts this ingrained Moscow International Biennale for Young Art, Moscow Peekaboo: Current South Africa, Tennis Palace male-female dance is by confusing the genders of the (2012); ARS 11, Kiasma Museum of Contemporary Art, … Mntambo pokušava da izbriše ova pravila, mešajući Art Museum, Helsinki (2010.); Life Less Ordinary: dancers. With her shaven head, the female dancer, Helsinki (2011); the 17th Biennale of Sydney (2010); uloge. Ovo čini na dva načina; senke dva lika koje Performance and Display in South African Art, Djanogly Dado Masilo, doesn’t appear like a conventional the 9th Dakar Biennale (2010); Peekaboo: Current zauzimaju prvi plan deluju stopljeno, formirajući Gallery, Notingem (VB), (2009.); Les Rencontres woman and the male figure in trousers is played by South Africa, Tennis Palace Art Museum, Helsinki interesantno hibridno stvorenje koje stalno menja de Bamako, bijenale afričke fotografije, Bamako, Lulu Mlangeni. We only catch sight of her briefly, when (2010); Life Less Ordinary: Performance and Display izgled, dok se plesači zajedno kreću po podijumu. Mali (2009.); Beauty and Pleasure in South African she does ground work, but her fine bone structure in South African Art, Djanogly Gallery, Nottingham, Zbog toga što su uvek spojeni, njihovi udovi se Contemporary Art, Stenersen Museum, Oslo (2009.); and small hands give her gender identity away... UK (2009); Les Rencontres de Bamako biennial of ne mogu razlikovati u senci. Pa tako, ovaj mračni .ZA: Young Art from South Africa, Palazzo delle African photography, Bamako, Mali (2009); Beauty doppelganger postaje sama osnova i neizbežna istina Papesse, Sijena (2008.) and Pleasure in South African Contemporary Art, kojoj ne mogu pobeći. Drugi način na koji Mntambo www.stevenson.info/artists/mntambo.html Stenersen Museum, Oslo (2009); .ZA: Young Art from potkopava ovaj ukorenjeni muško-ženski ples je South Africa, Palazzo delle Papesse, Siena (2008); and zbunjivanje publike, kada su u pitanju polovi samih Apartheid: The South African Mirror, Centre de Cultura plesača. Sa svojom obrijanom glavom, Dado Masilo Paso Doble, 2011 Contemporania de Barcelona (2008). ne deluje kao karakteristična žena, a mušku figuru u Video, 9’11’’ pantalonama igra Lulu Mlangeni, koju možemo videti samo na kratko, kada se spusti do samog poda, ali In Michiel Heyns’s Invisible Furies he introduces a njena fina struktura kostiju i male šake odmah odaju Pablo Picasso painting, Figures At The Seaside, as a njen rod... touchstone for the complex dynamic between lovers. The modernist work shows atomised body parts ...Ovaj nesvakidašnji dublet, gde subjekt predstavlja splayed and entangled as the two identities become dve sukobljene strane, ukazuje da se Mntambo intermingled. Observing the artwork, a character in
bavi unutrašnjim sukobom; borbom između muških Heyns’s novel proposes it expresses the submission NANDIPHA MNTAMBO Paso Doble, 2011; video, 9’11’’; fotografija / photo by Ana Kostić i ženskih nagona. U tom kontekstu, ishod nije of the female, a desire for defeat, and the male alexis o ’hara drugom, ovaj projekat duguje umetnosti koju je većina der Elektronische Kunst u Bazelu, koji je dostupan sound of feedback), she addresses this question, odraslih odavno zaboravila – pravljenju tvrđava, tokom leta na pariskoj premijeri medijskih umetnosti offering a terrain that offers an invitation for the razvlačenju čaršava preko dve stolice, kopanju pećine La Gaité Lyrique. Kao jedna od prvih umetnica koja audience to perform. This dome is an intimate SQUEEEEQUE – Iglo koji ne propušta, 2009-2013. u snegu koji je pao sinoć, podizanjem igloa sačinjenog je uvela live looping i elektroničku obradu vokala sa space that encourages the loss of inhibition. With interaktivna zvučna instalacija od starih zvučnika... izgovaranjem reči, nastupala je sa raznim umetnicama microphones in hand, strangers collaborate in uključujući Diamandu Galàs, Ursulu Raker, Henri song, their self-confidence bolstered by sonic Počelo je noću: umetnica je spavala. Tokom izrazito Zvučnici su sa „buvljih pijaca”, eko-centara i Internet Šopen i TV on the Radio. Njeni eklektični nastupi embellishments. This is not hi-tech; it is a lo-tech that nemirnog ciklusa sna, usnila je da je njena glava mreža... Svaki predmet je prožet energijom prostora i koncerti predstavljani su u raznim kontekstima engages in a playful reconfiguring of low-tech objects preobražena u džinovski mikrofon. Snoviđenje u kojem se ranije nalazio. Napravljen je po ugledu na u Sloveniji, Austriji, Meksiku, Nemačkoj, Španiji, plucked from flea markets and dumps, technologies 66 67 verovatno inspirisano skorim izlaskom u klub u kome tehniku izgradnje pravih igloa - kružna konstrukcija Velikoj Britaniji, Irskoj, Švajcarskoj, Francuskoj, rejected by a consumerist society obsessed with the je američki doom metal bend „Sunn O“, ispuštao postaje sve čvršća kako se zidovi približavaju. Zvučnici Finskoj, Danskoj, Belgiji, Brazilu i širom Sjedinjenih latest fashions, the latest gadgets. Inspired by the đavolske zvuke iz gigantskih pojačala. Ponovo u okrenuti ka unutrašnjosti aktiviraju se čim neko uđe Država i Kanade. Njena prva zvučna instalacija, THE architectural marvel that is the igloo, this installation svom snu, umetnica se zatekla u kući sagrađenoj i uzme u ruku jedan od četiri mikrofona koji vise s IMPROBABLE IGLOO, savršeno otelotvoruje njene also pays homage to the geodesic domes of the great od zvučnika. Svaki put kada bi pokušala da napusti plafona. Interaktivnost same instalacije korisniku umetničke vrednosti: nedisciplinovana, društvena i thinker and architect, Buckminster Fuller. But more kuću ili pak da proviri kroz prozor, oštra i piskava postaje očigledna istog trenutka. S obzirom da može zanimljiva. than anything, this project owes a debt to the art, long cika mikrofonije bi je sprečila. Kao neka zatvorenica, da primi samo ograničen broj ljudi, iglo nudi onaj nivo forgotten by most adults, of fort-building: stretching mirovala je u središtu kuće, osim u naročito intime koji čini da inhibicije nestaju. Potpuni stranci a bed sheet over two chairs, digging a grotto in the melanholičnim trenucima kada je grebala zidove, odjednom pevaju zajedno, a njihovo samopouzdanje SQUEEEEQUE – The Improbable Igloo, 2009–2013 snow that fell last night, erecting an igloo from old što bi proizvodilo oštre, pobunjeničke jecaje. Nekim se podstiče zvučnim efektima koje proizvode Interactive sound installation speaker boxes ... ljudima bi ovo možda bio košmar; ovoj umetnici je bio elektronski uređaji. Bez napora, i u trenutku, nastaju poziv. efemerne muzičke saradnje. It began at night: the artist was sleeping. During a The speakers come from flea markets, eco-centers particularly agitated sleep cycle, she dreamt that her and web networks, reflecting an encyclopedia of the Rad Aleksis O’Hare je često inspirisan korišćenjem Odbrambeni mehanizmi za ugrožene vrste, 2013. head had been transformed into a giant microphone. home stereo. Each unit is imbued with the energy zvučnih i vizuelnih distorzija. U njenim izvedbama performans A rêverie likely inspired by a recent club outing where of the living room it once occupied. It is built using uživo, ona manipuliše mikrofonijom stvorenom the American doom metal band, Sunn O, let forth their the same ingenious principle behind ‘real’ igloos - a glasom, a koju ostvaruje papučicama za gitaru i “Odbrambeni mehanizmi za ugrožene vrste govori unholy sounds before a wall of gigantic amplifiers. circular construction that becomes more and more miksetom, stvarajući tako prateći zvuk za svoje o pticama i feministkinjama. Usporedjujem žene Back in the dream, the artist found herself in a solid as the walls close in. The inward-facing speakers pripovedanje. U poslednje vreme, pak, dosadilo joj sa ugroženim vrstama. Žena je predstavljena kao house constructed entirely of speakers. Each time are activated once someone enters and takes in je slušanje sopstvenih priča, strahujući da joj je rad ptica zarobljena u lusteru. Poruka postaje jasna she attempted to leave the house or even peer out hand one of the four microphones hanging from the isuviše tesno vezan za sopstveno fizičko prisustvo. Da kada izgovaram svoj tekst. Konačno, moja haljina, the windows, sharp and strident squeals of feedback ceiling. The installation’s interactivity is immediately li bi bilo moguće, pitala se, stvoriti performanse bez napravljena od helijumskih balona, leti prema krovu prevented her. A prisoner, she stayed in the center of obvious to the user. Since it can only welcome a half potrebe za izvođenjem? i ostaje zarobljena u lusteru, predstavljajući jaku the house, save for particularly melancholic moments dozen people, the igloo offers an intimacy that sheds stariju ženu čiju moć uništavaju savremene vrednosti.” that led her to graze the walls, unleashing harsh, inhibition. Strangers find themselves singing together, Sa Squeeeque-om (onomatopeja za zvuk mikrofonije) (Aleksis O’Hara) rebellious wailing. Perhaps a nightmare for some; for their confidence bolstered by the embellishments pozabavila se ovim pitanjem, nudeći nam prostor u this artist, an invitation. offered by effect unites. Effortlessly, instant & kojem publika učestvuje u proizvodnji zvukova. Iglo Performansi, elektronske improvizacije i zvučne ephemeral musical collaborations are created. je intiman prostor koji podstiče gubitak inhibicija. instalacije Aleksis O’Hare (Montreal, Kvebek) služe The work of Alexis O’Hara is oft inspired by the Sa mikrofonima u rukama, posetioci počinju da se alegorijama ljudskog glasa. Objavila je knjigu exploitation of sonic and visual distortion. In her live Coping Mechanism for Endangered Species, 2013 sarađuju u pesmi, a njihovo samopuozdanje podstiču poezije, dva CD-a - U Abuliji (2002) i Elipsa (2011) performances she manipulates vocally-generated Performance zvučni efekti. Ovo nije hi-tech, ovo je low-tech koji - i brojne mini CDove. Sa projektima Subjektom za feedback, effected by guitar pedals and a mixer, uključuje u razigranu rekonfiguraciju recikliranih menjanje i Sunđerom tuge koji uključuju noseću creating backing tracks for her storytelling. But Coping Mechanism for Endangered Species talks predmeta pobranih po deponijama i buvljim pijacama, elektroniku, direktnu interakciju sa publikom i uživo lately, she has grown tired of listening to her own about birds and feminists. ““I compare women with tehnologija koju je konzumerističko društvo, procesuiranje glasa – ona istražuje interaktivni stories, troubled that her work was so narrowly tied endangered species. Woman is represented as a bird opsednuto najnovijiom modom i spravicama, odbacilo. dokumentarni performans. U zvučnoj instalaciji to her physical presence. Would it be possible, she and becomes trapped in the chandelier. The message Inspirisano arhitekturalnim čudom – igloom – ovaj SQUEEEEQUE – Iglo koji ne propušta uživalo je na wondered, to create performances without having to becomes clear with the text I recite. Finally, my dress, rad takođe odaje počast kupolama velikog mislioca i hiljade ljudi u galerijama i festivalima širom Evrope i perform? made of helium balloons flies up and gets trapped in arhitekte Bakminstera Fulera. Ipak, više nego ičemu Kanade. To je bio prvi rad u medijskoj kolekciji Haus With Squeeeque (an onomatopoeia evoking the the chandelier, representing older powerful women whose power is destroyed by contemporary values.” Paris’ premier media arts venue, La Gaité Lyrique. As one of the first artists to incorporate live looping Alexis O’Hara tends to an interdisciplinary art and electronic vocal processing with spoken word, practice that exploits allegories of the human voice she has shared the stage with a diverse array of via vocal & electronic improvisation, sound installation artists including Diamanda Galàs, Ursula Rucker, and performance. She has released one book of Henri Chopin and TV on the Radio. Her eclectic poetry, two CDs - In Abulia (2002) and Ellipsis (2011) - performances have been presented in diverse and a number of mini-CDs. With Subject to Change and contexts in Slovenia, Germany, Spain, The United The Sorrow Sponge - two projects involving wearable Kingdom, Ireland, France, Belgium, Brazil and 68 69 electronics, direct audience interaction and live vocal across Canada and the US. She has held research processing - she explores interactive documentary and production residencies in Canada, Mexico and performance. Her sound installation, SQUEEEEQUE - Austria and offers numerous workshops that combine The Improbable Igloo has been enjoyed by thousands surrealist games, vocal improv and sound processing of participants at galleries and festivals across Europe including the popular Noise School for Feminists. and Canada. It was the first acquisition to the media Alexis and her drag king alter-ego, Guizo LaNuit are art collection of the Haus der Elektronische Kunst mainstays of the Montreal cabaret scene. in Basel and is on display throughout summer at
ALEXIS O’HARA Squeeeque - The Improbable Igloo / Iglo koji ne propušta, 2009-2013 zvučna instalacija / sound installation; ko-produkcija 54. Oktobarski salon / co-production 54th October Salon; fotografija / photo by Ana Kostić, Tina Smrekar
Coping Mechanisms for Endangered Species, / Odbrambeni mehanizmi za ugrožene vrste, 2013, performans / performance andrea p alašti jezik i u prvi plan ističe konceptualni okvir za bolje initiatives. She works across the artistic and curatorial razumevanje aspekata našeg savremenog života. boundaries with an attention to issues of cultural Kao stipendistkinja Ministarstva nauke, trenutno je geography, critical topography and everyday life. In Balkan Disco, 2010-2012 doktorantkinja Univerziteta umetnosti, na katedri za her work she is investigating cultural, social and/or prostorna instalacija Teoriju umetnosti i medija u Beogradu. political circumstances in her country and the region, often with playful, ironic and humorous attitude. Diskoteka Balkan je disko-instalacija, koja se percepira She is using a symbolic language, putting forward kao spektakularno uvođenje noćnog kluba u koncept Balkan Disco, 2010–2012 a conceptual framework for (re)understanding the jedne izložbe. Naslov je pozajmljen od jednog od Spatial Installation aspects of our contemporary life. As a stipend of the 70 71 brojnih noćnih klubova koje nose ime „Balkan (e.g. Ministry of Science, she is currently a PhD fellow at „Balkan Disko u Vićenci; „Balkan disko ekspres” u Balkan Disco is a disco-like installation that is the University of Arts, at the department for Theory of Beču, „Balkanska noć” u Hamburgu) u kojima se conceived as a spectacular incorporation of a Art and Media in Belgrade. sluša ‘balkanska’ muzika – tradicionalni turbo-folk. nightclub into the concept of an exhibition. Its title Diskoteka „Balkan” gostila je neverovatne talente was borrowed from several nightclubs throughout kao što su Mile Kitić, Indira Radić, Jelena Karleuša, Europe that bear the name Balkan (e.g. Balkan Aca Lukas, kao i nove „Zvezde Granda”. Tokom 90-ih, Disco in Vicenza; Balkan Disco Express in Vienna; turbo folk je igrao glavnu ulogu u definisanju srpskog Balkan Night in Hamburg) and where `Balkan` music nacionalnog i društvenog identiteta. Promovisao is played. The menu at these discothèques is the je ideologiju i stil života nove ‘mafijaške ekipe’ traditional-like turbo-folk music. These clubs also sastavljene od nacionalističkih političara i ratnih showcase occasionally amazing talents such as biznismena koji su podržavali vladajući režim. Danas, Mile Kitić, Indira Radić, Jelena Karleuša, Aca Lukas, nakon mnogo godina od ratova u Jugoslaviji, ‘Balkan’ and the new stars of the grand production – Zvezde je opet simboličko mesto za dobru zabavu. Rad Balkan Granda. In the ’90s, turbo folk had a key role in Disco, bavi se pitanjem konstrukcije društvenih defining the Serbian social and national identity. običaja/ponašanja u kontekstu kulturološkog/ It promoted the ideology and lifestyle of the “new društvenog i političkog diskursa. Namenjene criminal elite,” consisting of nationalist politicians prvobitno samo za privatnu komunikaciju i ’kolekciju’, and wartime businessmen supporting the regime. fotografije nastale u diskoteci „Balkan,” formulišu Today, years after the collapse of Yugoslavia, `Balkan` jedan alternativni način prikazivanja/tumačenja is (again) a symbolic place for having a good time! privatne ’slavljeničke’ fotografije nastale po nalogu. The work Balkan Disco deals with a construction of Iz tog razloga, - rekontekstualizacijom proizvoda social customs/behaviors in the context of cultural/ ’komercijalne’ fotografije - rad postaje svojevrsni social and political discourse. Originally, photographs ready-made, preispitujući granice estetike i politike, taken in the Balkan disco for private communication te potencijale stvaranja jedne male/ruralne/granične and “collection”, formulate an alternative way antropološke studije u oblasti kulture, reprezentacije of displaying/interpreting private and ordered i stila života. “celebratory” photographs. For this reason – a re- contextualization of products such as “commercial’ Andrea Palašti živi i radi u Novom Sadu gde je photographs – the work becomes a ready-made that diplomirala fotografiju na Akademiji umetnosti. Od questions the boundaries of aesthetics and politics, 2006, izlaže i sarađuje sa različitim umetnicima and creative potential of a small/rural/border i umetničkim kolektivima i inicijativama; njeno anthropological research in the field of culture, art stvaralaštvo prevazilazi umetničke i kustoske granice i representation and lifestyle.
stavlja akcenat na pitanja kulturne geografije, kritičke ANDREA PALAŠTI Balkan Disco, 2010-2013 topografije i svakodnevnog života. U svom radu Andrea Palašti is based in Novi Sad, Serbia. Andrea instalacija / installation; produkcija 54. Oktobarski salon istražuje kulturne, socijalne i/ili političke okolnosti graduated photography from the Academy of Arts / production 54th October Salon; fotografija / photo by Ana Kostić u svojoj zemlji i regionu i često se poigrava veselim, in Novi Sad. Since 2006 she has exhibited and ironičnim i humorističkim stavovima. Koristi simbolički collaborated with different artists and art collectives/ marko p eljhan, „Projekt Atol” početkom 90-ih i bio je jedan od authoring, communications and dissemination 90’s and co-founded one of the first media labs in matthew b iederman osnivača jedne od prvih medija-laboratorija u infrastructures for the circumpolar region. Its Eastern Europe, LJUDMILA in 1995. He has been Istočnoj Evropi, LJUDMILA 1995. godine. Iste godine establishment is the direct result of the work of the working on the Makrolab, a project that focuses osnovao je tehnološki ogranak „Projekta Atol”, IPY project 417. The aim of API is to work with, learn on telecommunications, migrations and weather Arktička perspektivna inicijativa: O moru, tundri i nazvan PACT SYSTEMS, u kojem je napravio Sistem from, and empower the North and Arctic Peoples systems research in an intersection of art and science ledu, 2011. globalnog pozicioniranja zasnovan na projektu through open source technologies and applied from 1997-2007, the Interpolar Transnational Art instalacija participativnog umreženog mapiranja – „Urban education and training. By creating access to these Science Constellation during the International Polar Colonisation and Orientation Gear 144“, jedan od technologies while promoting the creation of shared Year (project 417) and is currently coordinating the Rad je prvi put produciran za Lionsko bienale, 2011. prvih radova u tzv. „žanru lokativnih medija“. Marko communications and data networks without costly Arctic Perspective Initiative art/science/tactical 72 73 Sadrži priloge: Napachie Pootoogook, Herve Paniaq, je radio na projektu Makrolab, koji se odnosi na overheads, continued and sustainable development of media project focused on the global significance Harry Ikkirapiik Ittuksarjuat, John MacDonald, telekomunikacije, migracije i sistem za istraživanje autonomous culture, traditional knowledge, science, of the Arctic geopolitical, natural and cultural Cornelius Nutarak Sr., Pudlo Pudlat, Oshoochiak vremena na raskršću umetnosti i nauke od 1997. do technology and education opportunities for peoples in spheres together with Matthew Biederman. Peljhan Pudlat, Simeonie Kopapik i Pitsaloak Ashoona. 2007. godine; na projektu Interpolar Transnational Art the North and Arctic regions is enabled. has also been the flight director of ten parabolic Science Constellation za vreme međunarodne polarne experimental flights in collaboration with the Arktička perspektivna inicijativa (API) je neprofitna godine (projekat 417), a trenutno zajedno sa Metjuom Based on the premise that the transmission Microgravity Interdisciplinary Research initiative and međunarodna grupa pojedinaca, pojedinki i Bidermanom koordinira projekat art/science/ of traditional knowledge enables the constant the Yuri Gagarin Cosmonaut Training Centre, creating organizacija, koju su osnovali Marko Peljhan i Metju tactical media project grupe Arctic Perspective movement of societies towards greater autonomy and opportunities for artists to work in alternating gravity Biderman. Njen cilj je razvoj otvorenih autorskih, Initiative, sa akcentom na globalnom značenju sustainability, this work is an attempt to establish conditions. During the series of World HYPERLINK komunikacijskih i diseminacijskih struktura na arktičke geopolitičke, prirodne i kulturne sfere. a method to chart, map, describe, record and share “http://Information.org” Information.org projects, cirkumpolarnom području. Proizašla je iz projekta Peljhan je takođe bio direktor leta deset paraboličkih traditional place names, trails and stories about the he has installed several communications mapping 417 programa IPY. Cilj incijative je saradnja i učenje eksperimentalnih letova u saradnji sa Inicijativom Land, the Animals and the Weather with new media and interception systems and projects and his od stanovništva najudaljenijih država i Arktike, za međudisciplinarna istraživanja mikrogravitacije tools. The local language and oral history tradition of research led him to map the command and control poboljšanje njihovog položaja pomoću otvorenih (Microgravity Interdisciplinary Research initiative) understanding the Land, combined with the traditional communications networks and response during the izvora novih tehnologija, primenjenog obrazovanja i i Centrom za obuku kosmonauta Juri Gagarin, placename mapping strategies is strikingly different Srebrenica genocide. treninga. Kroz stvaranje dostupa ovim tehnologijama stvarajući uslove umetnicima da rade u promenjenim from colonial based navigation and land resource i podsticanjem razvoja komunikacijskih i data mreža uslovima gravitacije. Za vreme serije projekata World management based mapping. Cartography within Inuit u zajedničkoj upotrebi bez visokih tekućih troškova, Information.org, instalirao je nekoliko sistema i culture, in contrast to colonial practices, happens otvara se put za dugoročni razvoj autonomne kulture, projekata za mapiranje i presretanje komunikacija, through the very act of naming locations and trails tradicionalnog znanja i naučnih, tehnoloških i a njegova istraživanja omogućila su mu da mapira based on their use and history. obrazovnih prilika za stanovništvo Severa i Arktike. mreže komandne i kontrolne komunikacije i reakcije za vreme genocida u Srebrenici. Native of Slovenia and a theatre and radio director Rad O moru, tundri i ledu je odgovor na pretpostavku, by profession, Marko Peljhan founded the arts and da kretanje tradicionalnog znanja utiče na društva technology organization Projekt Atol in the early i omogućava uvek veću autonomiju i održivost. Arctic Perspective Initiative: Sea, Tundra and Ice Pokušava da pronađe metod za pravljenje tabela, Papers, 2011 mapiranje, opisivanje, zapisivanje i prenošenje Installation tradicionalnih imena mesta, puteva i priča o državama, životinjama i vremenu putem novih medija. Lokalni A work commissioned by the Lyon Biennale 2011; jezik i usmena istorija o Državi, kao i načini crtanja Including contributions by Napachie Pootoogook, karata vrlo se razlikuju od kolonijalnog crtanja karata Herve Paniaq, Harry Ikkirapiik Ittuksarjuat, John za potrebe navigacije i upravljanja prirodnim izvorima. MacDonald, Cornelius Nutarak Sr., Pudlo Pudlat, MARKO PELJHAN, MATTHEW BIEDERMAN Arctic Perspective Initiative - Sea, Tundra and U suprotnosti sa kolonijalnim navikama, kartografija Oshoochiak Pudlat,Simeonie Kopapik and Pitsaloak Ice Paper / Inicijativa za Arktičke perspektive – dokumenti o moru, tundri i ledu, 2011; instalacija se u inuitskoj kulturi događa samo kroz imenovanje Ashoona. / installation; Uključujuči radove od / Including contributions by Napachie Pootoogook, Herve Paniaq, lokacija i puteva prema njihovoj upotrebi i istoriji. Harry Ikkirapiik Ittuksarjuat, John MacDonald, Cornelius Nutarak Sr., Pudlo Pudlat, Oshoochiak Pudlat, The Arctic Perspective Initiative (API) is a non-profit, Simeonie Kopapik and Pitsaloak Ashoona; produkcija / production: Zavod Projekt Atol; ko-produkcija / Marko Peljhan, po profesiji pozorišni i radio režiser, international group of individuals and organizations co-production: C-TASC Montreal; fotografija / photo by Ana Kostić osnovao je umetničko-tehnološku organizaciju whose goal is to promote the creation of open lorena h errera r ashid Zucarera, 2006; Pachanga / Rowdy Celebration, 2008; O.T. / Untitled, 2012–2013 Installation / sculptures Zucarera, 2006; Pachanga, 2008; O.T. / Neimenovano, 2012-2013. With the works presented at the October Salon, instalacija/ skulpture Lorena is “going home”, re-using and reflecting on traditions of Mexico, where she originally comes Radovima predstavljenim na Oktobarskom salonu from. The re-interpretation and re-use of Christian Lorena se „vraća kući“, ponovo koristeći i odražavajući symbols on every-day cultural (Zucarera evoking Día 74 75 običaje Meksika, odakle i potiče. Reinterpretacija de los Muertos which is in Mexico a colorful feast i ponovno korišćenje hrišćanskih simbola na full of sweets in sculp form) as well as ideological svakodnevnom kulturalnom (Zucarera/ Glava šećera levels (O.T. / Untitled works uncanny evocations koja priziva Dan svih svetih/Dan mrtvih, koji je of the Christian tradition and (self)martyrs) as well u Meksiku raznobojan praznik prepun slatkiša u as upgrading ridiculous ready-made objects are a obliku mrtvačke glave), kao i na ideološkom nivou technique Lorena’s works often share. In addition, (neočekivano izazivanje hrišćanske i (samo)mučeničke Lorena’s works evoke a gap, they suggest a lack by tradicije putem radova O.T./ Neimenovano), kao i provoking affect, a feeling of event(ness), which is just nadgrađivanje besmislenih ready-made objekata koje going to take place or just happened (Pachanga). Lorena često primenjuje u izradi svojih radova. Uz to, Lorenini radovi ukazuju na raskorak i nedostatak, Lorena Herrera Rashid was born in Mexico City, and izazivajući pri tom efekat, osećanje događaj(nosti), she lives and works in Munich. She graduated at the nečega što bi svakog trenutka trebalo da se desi, ili se Academy of Fine Arts (Prof. Olaf Metzel). After 17 upravo desilo (Pačanga). years, in which she lived in New York City, Benares, India, Oaxaca and Munich, and had been active in the Lorena Erera Rašid, rođena u Meksiko Sitiju, živi materialization of her ideas and initiatives, Lorena i radi u Minhenu, gde je diplomirala na Akademiji plans her return to Mexico City next year. Her first likovne umetnosti (kod profesora Olafa Mecela). international presentation was at the “Triennial India Nakon 17 godina života provedenih u Njujorku, 2000–2001”, where she won the triennial prize. Benaresu (Indija), Oahaki i Minhenu, tokom kojih je Between 2001 and 2004, Lorena co-initiated different pokušavala da materijalizuje svoje ideje i inicijative, community-craft projects in Oaxaca/Mexico. Since Lorena planira povratak u Meksiko Siti 2014. Njena then, she has presented her work mainly in Germany. prva međunarodna prezentacija bila je Trijenale Lorena works with mixed media; however, the majority Indija 2000-2001, kada je osvojila i nagradu. of her work is object-related, always offering a rich Između 2001-2004, Lorena je ko-inicirala različite conceptual base, often investigating different political korporativne samoodržive projekte u Ohaki/Meksiku. dimensions of everyday life, tradition and imagination. Nakon toga je izlagala uglavnom u Nemačkoj. Lorena koristi kombinovane medije, mada je većina njenih radova povezana sa različitim predmetima, koji uvek ukazuju na bogatu konceptualnu osnovu i često istražuju različite političke dimenzije svakodnevnog života, tradicije i mašte. LORENA HERRERA RASHID Pachanga / Rowdy Celebration, 2008 prostorna instalacija / site-specific installation; fotografija / photo by: Ana Kostić
LORENA HERRERA RASHID O.T. / Untitled, / O.T. Bez naziva 2012 skulptura / sculpture; fotografija / photo by: Ana Kostić lala raščić je doživeo metamorfozu ne samo medijuma, već i Prokleta brana, POGON, Jedinstvo, Zagreb (2010). Bosnian oral storytelling traditions. sadržaja. Njegova najambicioznija realizacija bila je Njeni radovi su deo kako privatnih tako i muzejskih za Grad žena u Ljubljani 2009, kada sam od nekoliko zbirki u Sarajevu, Zagrebu i Nju Orleansu. Lala vreme Travel in the Box is a work, which since its conception, Prokleta brana, 2010; Put u kutiji, 2007-2009; Bilo pesnika i pesnikinja zatražila da napišu stihove na provodi na relaciji između Zagreba – gde je članica in 2007, has been undergoing transformation each koji objekat, 2013 temu „putovanja u kutiji”, inspirisana pričama o dvema udruženja umetnika HDLU i HZSU, Sarajeva – gde je time it was presented. Originally developed as a video performansi osobama koje su se isporučile u kutiji u potrazi za članica odbora organizacije „Crvena”, i Nju Orleansa performance for a frieze of 22 monitors in foyer of boljim svetom. Jedna se odnosi na Henrija Boks (box, – gde je članica galerije pod vođstvom umetnika Good the Threshold Artspace in Perth, Scotland, the work http://lalarascic.com eng. kutija) Brauna, roba koji se poslao u slobodu Children. has morphed not only in the medium, but also in „Moj rad je trans-disciplinarno istraživanje naracija 1849. godine, a druga priča je o Čarlsu Mekinliju, content. It’s most ambitious realization was for City 76 77 i načina za njihovu realizaciju. Iako ukorenjena u čoveku koji je bio „slepi putnik” u kutiji, jer je čeznuo of Women, Ljubljana in 2009 when I commissioned vizuelnom, ja sam fascinirana rečima ― književnim, za kućom 2005. U Beogradu ću održati predavanje, The Damned Dam, 2010; Traveling in the Box, several poets and poetesses to write verse on the pisanim, govornim: izvedenim. Nisam usredsređena na kome ću mapirati verzije projekta i tumačiti pesme 2007-2009; Whatever the Object, 2013 topic of travelling in a box, inspired by two stories of na jednu temu; češće je odlazak u svaki novi koje sam prikupila. persons that shipped themselves in a box, in search projekat srećan i slučajan pronalazak koji me vodi Bilo koji objekat je zasnovan na trokanalnoj video “My work is a trans-disciplinary exploration of for a better world. One refers to Henry “Box” Brown, na put otkrivanja kroz istraživanje. Moj rad često instalaciji, nastaloj 2013. Bilo koji objekat istražuje narrative and the means of delivering it. Rooted in a slave that shipped himself to freedom in 1849, and uzima oblik instalacija, video radova i objekata, pojmove prevoda i transmutacije. Izvešću tekst koji the visual, I am fascinated by words, by the literary, the other story is of Charles McKinley, a man that koji u međusobnom odnosu čine naracijsku liniju, je prvobitno napisan za tri glumice. Zasniva se na tri written, spoken: performed. I am not concentrated stowed away in a box because he was homesick in dok centralnu osu mojih radova čini performans. pronađene stranice nepoznate knjige, analizirane kao on a single subject, more often the departure for 2005. In Belgrade I will deliver a lecture performance Moja definicija performansa je široka: to može biti objekt i izvor značenja. Tekst sledi skoro forenzičku every new project is a serendipitous find that takes that maps the versions of the project and interpret the izgovoren tekst, video performans ili performans analizu pronađenih stranica, njihov sadržaj i njihova me to journey of discovery through research. Very poems I have collected. uživo. Ja se bavim konstruisanjem svetova koji fizička svojstva, posebno se koncentrišući na jednu often my work takes the form of installations, videos komuniciraju sa fantazijom i realnošću, ali ih kritički rečenicu koja je izdvojena iz teksta zbog svoje and objects, which in correlation form a narrative Whatever the Object is based on a three channel video pristup i kontekstualna čitanja uništavaju. Za 54. kriptičnosti. Pomenuta rečenica je prevedena i thread, with the central axis of my projects being installation produced in 2013. Whatever The Object Oktobarski salon pozvana sam da izvedem tri stoga ponovo protumačena kroz prevod na hrvatski, performance. My definition of performance is broad; explores the notions of translation and transmutation. performansa, tri dana za redom. Izvešću Prokletu engleski i nemački. Brojne verzije ovog prevoda it can be spoken text, video or live performance. My I will perform the script originally written for three branu, Put u kutiji i Bilo koji objekat. Svaki od ovih ispituju je lingvistički, otvarajući prostor za nagađanje concern is with constructing worlds that communicate actresses. It is based on three found pages of an performansa biće novo, jedinstveno izvođenje njenog značenja, koje se zauzvrat dekonstruiše kroz with fantasy and reality, but are subverted by a critical unidentified book, analyzed as an object and a source postojećeg projekta. repetitivnu verbalnu interpretaciju rečenice na tri approach and contextual readings. For the 54th of meanings. The script follows an almost forensic jezika.“ Lala Raščić October Salon, I have been invited to deliver three analysis of the found pages, their content, and their Tekst projekta Prokleta brana koji je prvobitno performances on three consecutive days. I will be physical properties, concentrating specifically on nastao 2010. po prvi put ću izvesti, na engleskom, Lala Raščić rođena je u Sarajevu, a obrazovanje iz performing The Damned Dam, Travel in the Box and one sentence singled out from the text because of kao performans usmenog pripovedanja i video umetnosti je stekla na Akademiji likovnih umjetnosti Whatever the Object. Each of these performances will its cryptic nature. The said sentence is translated performans. Nova engleska verzija Proklete brane u Zagrebu. Njen rad obuhvata instalaciju, video, be a new, unique rendition of a former project. and thus re-interpreted through translation into postoji samo kao audio rad proizveden 2013. uz performans i slikarstvo. Bila je gostujuća umetnica Croatian, English and German. Numerous versions pratnju saza – narodnog žičanog instrumenta. U na amsterdamskoj akademiji Rijksakademie; zatim u The Damned Dam will be the first time I perform, in of its translation explore it linguistically, opening the poslednjoj verziji, originalni izgovoreni tekst na mom Platform Garanti u Istanbulu; Cite des Arts u Parizu English, the text from the project originally produced space for the speculation of its meaning, which is maternjem jeziku pažljivo je preveden na engleski kao i Kultur Kontakt u Beču, pored ostalih. Intenzivno in 2010 as an oral storytelling performance and in turn deconstructed through the repetitive verbal epska balada prepuna aliteracije, rime i evokativnih je izlagala na međunarodnoj sceni i po regionu. video performance. The new English version of The interpretation of the sentence in the three languages.” pesničkih slika. Priča je smeštena u blisku budućnost Dobitnica je nagrade „Budućnost Evrope” za umetnost Damned Dam exists only as an audio work, produced (Lala Raščić) i prati dva lika koji se bore protiv društvene nepravde za 2013. godinu koju dodeljuje kompanija Alpha2000 in 2013, in which I am accompanied by a “saz”, a i ekološke katastrofe, inspirisana motivima bosanske i u užem je izboru za Henkelovu nagradu za umetnost traditional string instrument. In this last version, Lala Raščić was born in Sarajevo, Bosnia and usmene pripovedačke tradicije. 2013. U skorašnje samostalne izložbe spadaju No the original spoken text, in my native tongue, is Herzegovina. She has received her art education at Put u kutiji je delo koje od svog nastanka 2007. Country Other Than Liberty, SIZ, Mali Salon Muzeja carefully translated into English as an epic ballad he Academy of Fine Arts, Zagreb. Her works spans godine prolazi kroz transformaciju svaki put kada se moderne i suvremene umjetnosti Rijeka (2013. god); teeming with alliteration, rhyme and evocative poetic installation, video, performance and painting. She predstavi. Prvobitno napravljen kao video performans Whatever the Object, GfZK u Muzeju savremene imagery. The story is set in the near future and had been an artist in residence at the Rijksakademie, za friz od 22 monitora u foajeu Threshold Artspace, umetnosti Lajpcig (2013); A Load from the Inside follows two characters as they battle social injustice Amsterdam; Platform Garanti, Istanbul; Cite des Arts, umetničkog prostora u Pertu u Škotskoj, ovaj rad - Reviewed, Muzej Sigmunda Frojda, Beč (2011) i and environmental disaster, inspired by motifs from Paris and Kultur Kontakt, Vienna, amongst others. She has exhibited extensively internationally and in the region. In 2013 she was the recipient of the Future of Europe Art Award, Alpha2000 and is shortlisted for the Henkel Art.Award. Recent solo shows include No Country Other Than Liberty, SIZ, Mali Salon, Museum of Contemporary Art, Rijeka (2013); Whatever the Object, GfZK, Museum of Contemporary Art, Leipzig (2013); A Load from the Inside - Reviewed, Sigmund Freud Museum, Vienna (2011) and The Damned Dam, 78 79 POGON, Jedinstvo, Zagreb (2010). Her works are a part of both private and museum collections in Sarajevo, Zagreb and New Orleans. Lala spends her time between Zagreb – where she is the member of HDLU and HZSU artists’ associations; Sarajevo – where she is the board member of the organization Crvena; and New Orleans – where she is a member the artist-run gallery Good Children.
LALA RAŠČIĆ Performansi Travel in the Box; autorska prava / copyright: Lala Raščić dina r ončević Akademiji umjetnosti u Zagrebu. Dina se takođe with people that have different backgrounds (age, Dina Rončević is a multimedia artist and a puppet podvrgla stručnoj prekvalifikaciji kako bi postala class, education, no/occupation), because it enriches animator, in love with mechanics and vehicles. In automehaničarka, naučila je da vozi motorcikl, the work that we do, and allows me to understand 2010, she graduated animation and new media at the Voda tako vruća da peče, 2013 završila studije pri Centru za ženske studije u Zagrebu the subject from different perspectives. Therefore, a Art Academy in Zagreb, Croatia. Dina also made a objekat/ video dokumentacija i konačno priredila samostalnu izložbu zasnovanu different approach to the problem and new solutions professional re-training to become a car mechanic, na procesu u Galeriji Miroslav Kraljević. Izlagala je are possible. learned how to drive a motorcycle, finished the “Bavim se multimedijalnom umetnošću i animacijom na međunarodnim izložbama: Narodni muzej strane course at the Centre for Women Studies Zagreb and lutaka, pri čemu su koncepti suština mojih radova. umetnosti u Bugarskoj; Biennale de la Mediterranee, This time, with a friend and a group of girls, we made finally made a solo exhibition, based on the process Godine 2010, prošla sam stručnu prekvalifikciju za Grčka; Transitio MX_05 Festival, Meksiko; Anti it to a trike vehicle, run by a chainsaw. 5 days, first at the Gallery Miroslav Kraljević. Dina exhibited 80 81 automehaničara, što je bio deo mog diplomskog rada Festival, Finska; Werkleitz Festival, Nemačka; Simplon time building with an engine and we are leaving the internationally: National Museum of Foreign Art, na Akademiji umetnosti u Zagrebu, i postalo osnov Express project, Francuska; Rdeče Zore Festival, vehicle to visitors! We are not trying to come up Bulgaria; Biennale de la Mediterranee, Greece; mog rada, zasnovanog na feminizmu. Slovenija i KvirFem Fest, Austrija. Dina je radila na with something new, instead I am dealing with my Transitio MX_05 Festival, Mexic; Anti Festival, nekoliko lutkarskih filmova kao glavna animatorka. own boiling passion. It has a waterish, emotional Finland; Werkleitz Festival, Germany; Simplon Express Mehanika je disciplina prepuna patrijarhalnih Od 2012. godine, izvela je nekoliko perfomansa u character.” (Dina Rončević) project, France; Rdeče Zore Festival, Slovenia and propozicija. S obzirom da je moj odnos prema kojima je konstruisala i rastavljala automobile i vozila KvirFem Fest, Austria. Dina worked on several puppet mehanici fetišistički, a pri tom sam žena i imam sa ženama raznih uzrasta i obrazovanja. U budućnosti animation films as the head animator. Since 2012, tek ograničen pristup istoj, logično je da sam planira da poseti Detroit, stekne dalje obrazovanje, she has made several performances in which she odlučila da radim na toj temi. Glavna karakteristika napravi animirani film „kadar po kadar“ o psima, i da constructed and deconstructed cars and vehicles mog rada jeste lična posvećenost koja artikuliše vozi motorcikl. with women of different age/education background. život, umetnost i proces kao podjednako značajne In future, she plans to visit Detroit, get more u jednom umetničkom delu. Neka od pitanja za education, make a stop motion about dogs and drive koja sam zainteresovana su – telo koje je političko Hot Hot Burning Water, 2013 a motorcycle. umesto lično, kako se pojedinac/pojedinka i/ili Object / video documentation društvo uopšte odnosi prema poslu, radu i zaradi uglavnom iz rodne perspektive. Takođe, posebno sam “I work as a multimedia artist and a puppet animator, zainteresovana za različite načine učenja i modela with concepts being the core of my works. prenošenja znanja. Osnovna motivacija za moj rad In 2010, I made a professional retraining to become a dolazi iz želje da razumem načine na koje umetnost/ car mechanic, while also doing my graduate work at DINA RONČEVIĆ Voda tako vruća da peče / Hot Hot Burning Water, 2013 umetnički rad može da utiče na svakodnevni život i the Academy of Fine Arts in Zagreb, and that became objekat i video dokumentacija / object and video documentation postane ključni deo njega. Raduje me rad s ljudima my groundwork, based in feminism. ko-produkcija 54. Oktobarski salon / co-production 54th October Salon koji dolaze iz različitih konteksta (različitog uzrasta, fotografija/ photo by Ana Kostić klase, obrazovanja, ne/zanimanja) jer to obogaćuje Mechanics is a discipline fertile with patriarchal naš rad i omogućava mi da sagledam temu iz različitih propositions. As I have a fetishistic relation to it, but uglova. Tako je moguć drugačiji pristup problemu i because I am a woman only a limited access to it, nova rešenja. logically I decided to continue working on the subject. The main characteristic of my work is a personal Ovog puta sam sa prijateljem i grupom devojaka devotion that articulates life, art and process as napravila vozilo na tri točka koje pokreće motorna equally important in a piece of art work. Some of testera. Po prvi put radim s motorom, a već the questions I am interested in are – a body that is ostavljamo vozilo posetiocima! Niko od nas ne political instead of personal, how does an individual pokušava da smisli nešto novo; umesto toga ja se and/or society in general relate to work, labor and bavim sopstvenom proključalom strašću. Ona ima earnings, mainly from a gender perspective, and I vodnjikav, emotivan karakter.” (Dina Rončević) am especially interested in different ways of learning and models of transferring knowledge. The main Dina Rončević je multimedijalna umetnica i motivation for my work comes from wanting to realize lutkarka, zaljubljena u mehaniku i vozila. Diplomirala ways in which art/work can influence daily life and je animaciju i nove medije 2010. godine na become a crucial part of it. I have a thrill for working ivana s miljanić Moderne u Sent-Etjenu, Mestnu galeriju u Ljubljani, performance at the Salzburg Summer Academy of Esterházy in Eisenstadt, gallery ISCP in New York, Schloss Esterházy u Ajzenštatu, Galeriju ISCP u Fine Arts in 2000 and in 2002. She attended the the Museum of Contemporary Art of Istria in Pula, Njujorku, Muzej suvremene umjetnosti Istre u Puli, alternative program at the Women’s Studies Center Museum “25th Maj” in Belgrade, the Center for http://www.ivanasmiljanic.com Muzej “25. maj” u Beogradu, Centar za savremenu for Women’s Studies in Belgrade (2012/13). By herself Contemporary Art in Thessaloniki, the Center for umetnost u Solunu, Centar za savremenu umetnost she has had solo exhibitions and performances in Contemporary Art, La Centrale Electrique, Brussels Zapamtičeš ti mene, 2011 La Centrale Electrique u Briselu i druge. Dobitnica je Belgrade, Novi Sad, Pančevo, Smederevo, Vranje, and others. She won the most important award instalacija najznačajnijeg priznanja za mlade vizuelne umetnice Prijepolje, Zagreb, Pula, Ljubljana, Bratislava, for young visual artists and artists in Serbia – the i umetnike u Srbiji - nagrade „Dimitrije Bašičević Brussels, Bergen and New York. She has participated “Dimitrije Bašičević Mangelos” in 2009, and later “Koristeći zvuk, folije i pečate i neke svoje intimne Mangelos” za 2009. godinu i tim povodom boravila at some of the biggest art manifestations in Serbia resided at the International Studios & Curatorial 82 83 beleške, kreirala sam jedan neobičan ambijent u je u International Studios & Curatorial Program u (October Salon, BELEF, Museum’s Night) and in over Program in New York. She represented Serbia at kome postaje vidljivo sve što se toliko teško vidi da ne Njujorku. Predstavljala je Srbiju na izboru za Henkel 50 group exhibitions in the U.S. and across Europe, the Henkel Art Award 2011. Her works are part of verujemo da postoji. Nešto pažljivo skrivano i lucidno Art Award 2011. Njeni radovi su deo kolekcije including the Slovak National Gallery in Bratislava, collections Telenor. She lives in Belgrade. u partnerskim odnosima. I moje čedo – slonče, koje „Telenor”. Živi u Beogradu. Hilger BrotKunsthalle in Vienna, Künstlerhaus in je izraslo u pravog, velikog slona. Nevidljivog. Toliko Bremen, Museum of Contemporary Art of Vojvodina velikog, da sam i ja pored njega postala nevidljiva. in Novi Sad, VN gallery, Zagreb, Musée d’art Moderne Mislila sam da sam tako nevidljiva bolja majka. http://www.ivanasmiljanic.com in Sent-Etienne, Mestna gallery in Ljubljana, Schloss - Koje gluposti, pa nisam ja slonica?! - Ustvari, izložba je o moći, o zaslugama i kaznama. You Will Remember Me, 2011 Nevidljivim, naravno. O građanskoj odgovornosti. O Installation normalnosti. O pravu svih nas, i mom ličnom, da stvari nazovemo pravim imenom. “By using sound, foils and stamps and some of my - O slonu u sobi. intimate notes, I have created an unusual ambience - Kom slonu?”(Ivana Smiljanić) where all those things that are so difficult to see that we don’t even believe they exist become visible. Ivana Smiljanić je vizuelna umetnica, performerka Something carefully hidden and lucid in partner i plesačica. U svom radu, koristeći različite medije relations. And my baby – an elephant, which has i resurse sopstvenog tela, bavi se re-kreiranjem/ grown into a real, big elephant. Invisible. So big that re-interpretiranjem iskustava/pojava/problema even I became invisible next to it. I thought that, by sa kojima se susreće kao žena, kao umetnica i kao being invisible, I was being a better mother. građanka. Rođena je u Beogradu. Završila je Fakultet - What nonsense, I am not an elephant?! likovnih umetnosti u Beogradu 2005. i Magistarske - Actually, the exhibition is about power, credits and studije na istom fakultetu 2009, a kao stipendistkinja punishments. Invisible ones, of course. About civic KulturKontakta (Beč) i SSA (Salcburg), usavršavala je responsibility. About normality. About the right we all video i performans na Salcburškoj letnjoj akademiji have, that I have, to call things by their real names. likovnih umetnosti, 2000. i 2002. godine. Pohađala je - About the elephant in the room. alternativni program ženskih studija Centra za ženske - Which elephant?” (Ivana Smiljanić) studije u Beogradu (2012/13.). Samostalno je izlagala i izvodila performanse u Beogradu, Novom Sadu, Ivana Smiljanić is a visual artist, performer and Pančevu, Smederevu, Vranju, Prijepolju, Zagrebu, dancer. In her work, she uses a variety of media Puli, Ljubljani, Bratislavi, Briselu, Bergenu i Njujorku. and resources of her own body, she deals with Učesnica je svih velikih umetničkih manifestacija re-creating/re-interpreting experiences/phenomena/ u Srbiji (Oktobarski salon, BELEF, Noć muzeja) i problems that she comes across as a woman, as an preko pedeset grupnih izložbi u Americi i širom artist and as a citizen. She was born In Belgrade. She
Evrope, uključujući Slovačku nacionalnu galeriju u graduated from the Faculty of Fine Arts in Belgrade IVANA SMILJANIĆ Zapamtićeš ti mene / You’ll Remember Me, 2011 Bratislavi, Hilger BrotKunsthalle u Beču, Künstlerhaus in 2005 and took her Master’s degree from the same instalacija / installation; fotografija / photo by: Ana Kostić u Bremenu, Muzej savremene umetnosti Vojvodine University in 2009, held a stipend from KulturKontakt u Novom sadu, VN galeriju u Zagrebu, Musée d’Art (Vienna) and SSA (Salzburg) and studied video and jelena s okić Without, 2012; Bella Ciao, 2011; Tribute To My Still Born Love, 2013; The Room of Obsession, 2012; The World Will End, But the Mirror Will Remain, Bez, 2012; Bella Ciao, 2011; Posvećeno mojoj Mirroring Nothing, 2012 mrtvorođenoj ljubavi, 2013; Soba opsesije, 2012; Paintings, oil on canvas Svet će nestati, ali ogledalo će ostati, odražavajući ništa, 2012. “Formal education did not give me knowledge about ulje na platnu painting. More than formal education in painting, I see the value in communicating ideas through the work 84 85 “Formalno obrazovanje nije mi pružilo znanje o process. I’m not interested in politics in painting. slikarstvu. Više nego u formalnom obrazovanju, I’m trying to understand my vision of the world as vrednost vidim u komunikaciji ideje kroz proces intensely as possible. I take and use formal elements rada. Nisam zainteresovana za politiku u slikarstvu. that seem important for a proper theme. Subjects Pokušavam da razumem svoju viziju sveta što je and themes are usually of an everyday character, intenzivnije moguće. Uzimam i koristitim formalne everyday events that make a part of everyday living, elemente koji odaju utisak važnosti za određenu temu. with all its emotional turbulent characteristics. I don’t Predmeti i teme obično imaju svakodnevni karakter, want to provoke shocks or satisfy any curiosity with svakodnevni događaji koji su deo svakodnevnice painting. What interests me is experience, memory. sa svim svojim turbulentnim karakteristikama. Ne Descriptions of the sky. Bones. White rabbit, black želim da izazovem šokove i da zadovoljam znatiželju rabbit. Danil Harms. Big paintings, small paintings. slikanjem. Ono što me interesuje je iskustvo, sećanje. Being stoned from the painting. The pirates. The sea. Opisi neba. Kosti. Beli zec, crni zec. Danijel Harms. Hands dirty with paint. Italian canzone. Straw hats. Velike slike, male slike. Opijena slikarstvom. Pirati. Franz Kafka. Mushrooms, fishes. Human faces. The More. Ruke zaprljane bojama. Italijanske kancone. nose. Nikolai Gogolj. The dream. Tangerines. Dance. Slamnati šeširi. Franc Kafka. Pečurke, ribe. Ljudska Dimensions of fear or love. Risings and settings of the lica. Nos. Nikolaj Gogolj. San. Mandarine. Ples. sun. Tenderness. Horizon.” (Jelena Sokić) Dimenzije straha ili ljubavi. Izlazak i zalazak sunca. Nežnost. Horizont. “ (Jelena Sokić) Jelena Sokić was born in Split, where she lives and works. She graduated from the Academy of Fine Arts Jelena Sokić je rođena 1980. u Splitu, gde živi i in Ljubljana, Slovenia, in 2013. She also studied at radi. Završila je slikarstvo na Akademiji u Ljubljani, the Accademia di belle arti di Brera in Milan, Italy. As a studirala je takođe i na Akademiji lepih umetnosti a media of expression, she mostly uses painting and „Brera”, u Milanu. Najviše koristi mediji slike i videa u video. svojim radovima.
JELENA SOKIĆ Bella Ciao, 2011 ulje na platnu / oil on canvas; fotografija / photo by: Ana Kostić alma s uljević spoke and wrote different languages: old church, Latin, Turkish or the Arabic language and its alphabet, alhamiado, or languages brought by Jews – but women Bosančica (Žensko Pismo), 2013. wrote in the women’s alphabet and in the Bosnian performans language. Thanks to women’s script and its clarity, convenience and ease, today we have a new alphabet “Performans na kojem ću recitovati svoje pjesme, – written Cyrillic. What is to be admired here is this iz zbirke Črni dudi moga dida, pisana u jeziku phenomenon of a women’s script, in the Bosnian bosančice, nastale osamdestih godina prošlog stoljeća language, also known as Bosančica, being entirely 86 87 objavljene u Književnoj reviji nekoliko mjeseci pred left to women for their correspondence as their right, početak sukoba u Jugoslaviji. U srednjevjekovnoj their secret and their code. I entirely devote this Bosni, ovisno o vladarima, muškarci su govorili i performance to our curators Red Min(e)d.” (Alma pisali: starocrkvenim, latinskim, turskim i arapskim Suljević) jezikom i njihovim pismom, alhamijado ili jezicima koji sa sobom u svoje izgnanstvo donose Jevreji, ali Alma Suljević is a contemporary artist from Bosnia žene pišu ženskim pismom i bosanskim jezikom. and Herzegovina. She graduated from the Academy of Zahvaljujući ženskom pismu i njegovoj jasnoći, Fine Arts in Sarajevo, the Department of Sculpture, praktičnosti i jednostavnosti, mi danas imamo jedno and finished her post-graduate studies in the field pismo - pisanu ili brzopisnu ćirilicu. Ono čemu se of the contemporary philosophy at the University of svakako treba odati počast je fenomenen ženskog Sarajevo. Since 1997, she has been teaching at the pisma u bosanskom jeziku koji zovemo „Bosančica”, Academy of Fine Arts in Sarajevo, where she lives and a koji je isključivo prepušten korespodenciji žena kao works. njihovo pravo, kao njihova tajna, kao njihov kod. Rad u cjelosti posvećujem kustosicama Red Min(e)d.” (Alma Alma’s work mostly reflects on topics of war, women Suljević). and feminism.
Alma Suljević je savremena bosanskohercegovačka umjetnica. Diplomirala je na Akademiji likovnih umjetnosti u Sarajevu na odseku za vajarstvo, a postdiplomske studije iz oblasti savremene filozofije završila je na Filozofskom fakultetu u Sarajevu. Od 1997. godine, predaje na Akademiji likovnih umjetnosti u Sarajevu, gde živi i radi.
Alma se u svojim radovima uglavnom bavi pitanjima rata, žena i feminizma.
Bosančica: Women’s Writing, 2013 Performance ALMA SULJEVIĆ Curator Harald Szeemann spontaneously kisses Alma Suljević’s “In this performance I will recite my poems from the forehead during her unexpected performance at the exhibition Blood and Honey, Museum Essl, Vienna, 2003, courtesy of the artist. collection Črni dudi moga dida, written in the 80s, in
the BOSANČICA tone. The poems were published in Alma Suljević 4 Entity, 2000, performans / performance; a literary magazine (Književna revija) a few months courtesy of the artist. before the beginning of the war in Yugoslavia. In medieval Bosnia, depending on the rulers, the men tejal s hah Cultural Centre, Čikago; Brooklyn Museum, Njujork The Newark Museum, New Jersey; Gallery Alkatraz & Davis Museum, Velsli; NGBK, Berlin; Tate Modern, and Mala Galerija, Ljubljana; Chicago Cultural Centre, London... Chicago; Brooklyn Museum, New York & Davis Među talasima, 2012. Museum, Wellesley; NGBK, Berlinn; Tate Modern, video instalacija 88’ London and else where. Between the Waves, 2012 Među talasima nije nepregledno utočište svetlucave Video installation 88’ vode i sled grebena i korita. Ono predstavlja intimni potres. Utihnulost naslova sadrži brzinu Lavov talasa Between the Waves is no vast sanctuary of shimmering 88 89 koji se mreškaju na površini pejzaža sadržanog u waters and its ensuing crests and troughs. It intimates ovom radu. U seizmologiji, Lavov talas se pojavljuje a quake. The quietness of the title belies the velocity kada univerzum prolazi kroz ogromno „unutrašnje of the Love waves that ripple across the surface of prevrtanje očima”. Namera ovog dela je da uhvati the landscapes contained by this work. In seismology, efekte i slike tog „prevrtanja očima”. Kao svaki dobar a Love wave occurs when the universe goes through površinski talas, Lavov talas prostire se duž interfejsa a massive internal eye roll. It is the intention of this između različitih medija. work to capture the after effects and images of this eye roll. Like any good surface wave, the Love wave Baveći se raznim medijima poput videa, fotografije, spreads along the interface between different media. performansa, zvuka, instalacije i crteža, Tedžal Šah svoj rad pozicionira unutar feminističkog Working across diverse media such as video, i queer pristupa. Njeni radovi su fokusirani na photography, performance, sound, installation, teme: seksa, seksualnosti, telesne, rodne i and drawing, Tejal Shah positions her work within prirodne kulture i suprotstavljaju se normativnim a feminist and queer framework. Her works have društvenim hegemonijama. Trenutno je zanima focused on topics of sex, sexuality, body, gender povezivanje umetnosti, ekologije i isceljenja preko and natureculture while challenging normative uspostavljanja relacija sa svešću. Sve ovo je vodi social hegemonies. Currently, she is interested dublje ka proučavanju međuvrsta, budističke filzofije i in the intersections of art, ecology and healing in post-pornografije. Projekat kojim se sada bavi, Balcao, relation to consciousness. This is taking her deeper predstavlja kontinuirano promenljiv eksperiment into interspecies studies, Buddhist philosophy and otelotvorenog učenja i života koji se dosta oslanja post-pornography. Her current ongoing project, Balcao na ekološku poljoprivredu, land art i ostale oblike is a shape-shifting experiment in embodied learning socijalne skulpture. and living that draws on natural farming, land art and other forms of social sculpture. Tedžal je rođena 1979. godine u Bilaju, a živi i radi u Goi. Studirala je fotografiju na Kraljevskom Tejal was born 1979 in Bhilai, India and lives and institutu za tehnologiju u Melburnu, a izlagala je works in Goa, India. Tejal has studied photography širom sveta: Witte de With Center for Contemporary at the Royal Melbourne Institute of Technology, Art, Roterdam; City Gallery u Velingtonu; 2P Melbourne and has exhibited internationally: Witte de Contemporary Art, u Hong Kongu; dOCUMENTA (13), With Center for Contemporary Art, Rotterdam; City Kasel; Werkstatt der Kuturen, Berlin; Zachęta National Gallery Wellington; 2P Contemporary Art, Hong Kong; Gallery of Art, Varšava; Sakshi Gallery, Bombaj; dOCUMENTA (13), Kassel; Werkstatt der Kuturen, Nichido Contemporary Art, Tokio; National Portrait Berlin; Zachęta National Gallery of Art, Warsaw; Gallery, Kanbera; Prague Biennale; Lyon Museum of Sakshi Gallery, Mumbai; Nichido Contemporary Art,
Contemporary Art, Lion | MAXXI, Rim; Prince of Wales Tokyo; National Portrait Gallery, Canberra; Prague TEJAL SHAH Between the Waves / Među talasima, 2012 Museum, Bombaj; Tang Contemporary, Peking; Espace Biennale; Lyon Museum of Contemporary Art, Lyon video instalacija / video installation 88’; fotografija / photo by. Ana Kostić Electra, Paris; The Newark Museum, Nju Džersi; | MAXXI, Rome; Prince of Wales Museum, Mumbai; Gallery Alkatraz i Mala Galerija, Ljubljana; Chicago Tang Contemporary, Beijing; Espace Electra, Paris; boris š ribar u kome je ovakav konstrukt nastao, odgovor je himself in the middle of the stereotypes’ net and Identity problem of the other – the weaker one is umetnika koji je sateran „uz zid”. Boris kao pripadnik there would be no way out. Boris firstly deconstructs deconstructed through Boris’s work and discarded većine, postaje i (pre)nosilac dominantnih stavova the sentence “men don’t cry“ in the basic and the as a worthless construct that was created on the Muškarci ne plaču, 2010. društva, nema argumente da se pozove na svoju most banal way – crying has nothing to do with the foundation of an unstable thesis that someone’s cry is video 11’05’’ posebnost, jer je on u očima publike pripadnik emotions. Everybody cries. Every human being cries a reflection of weakness. This radical act of discarding poželjne većine, poželjnog jačeg, na čijoj je dobroj and he proves it when he sits down and, like in an the whole socially cultural context of the patriarchal Rad Muškarci ne plaču upravo se može posmatrati volji da u privatnom životu izabere između mačoizma experiment, induces tears chemically while cutting society in which this construct was created is a kao jedan pokušaj dekonstrukcije rodnog stereotipa, i blagosti, diskriminacije i tolerancije. Ukoliko u svom onions. While repeating the mechanical action of response of the artist who has been up backed to the u Borisovom slučaju na ličnom nivou. Naime, Boris radu načini iskorak ili prestup, motivi za to će biti cutting the onions, Boris goes from a physiological wall. Boris, as a member of a majority, also becomes 90 91 se u svom radu ne bavi tradicionalnom floskulom traženi (i nađeni) u njegovom „šovinizmu“, želji da, iz to an emotional cry. Or he doesn’t. It is impossible to bearer of the dominant stands of the society, and „muškarci ne plaču“ dokazujući da ona nije istinita, jer svoje udobne pozicije jačeg, provocira slabije ili im se see the moment of transformation when the allowed he has no arguments to call upon his individuality pojedini muškarci ipak plaču, niti ohrabruje muškarce ruga kada se bavi rodnim pitanjima i dovodi u pitanje physiological cry becomes an angry, masculine cry of because, in the eyes of the audience, he is a member da pokažu emocije, jer bi se na taj način upleo u krug „normalno“ i poželjno. (Marija Ratković) despair or the transgressional masculine emotional of that desirable majority, desirable stronger, who stereotipa iz koga nema izlaska. cry. has the privilege of making a choice in his personal Kroz dosadašnju umetničku praksu, Boris Šribar se With this work, Boris levels up the physical and life as to whether he wants to be a macho or gentle, Tezu „muškarci ne plaču“ Šribar dekonstruiše na bavio temama koje su na različite načine bile deo psychological experience, alluding to his own discriminatory or tolerant. If he makes a step forward osnovnom i najbanalnijem nivou, dokazujući da plač njegove ličnosti, i sa njim korenpodirale kroz različite experience, when, based on the physical appearance or one step over the edge, motives for doing so will be nema veze sa emocijama. Svi plaču. Svako ljudsko kontekste. Jedna od karakteristika umetničkog of the author, the audience places his work into a looked for (and found) in his “chauvinism”, desire to biće plače, i on to dokazuje kada seda i poput rada Borisa Šribara je čest dijalog između javnog i certain context. Every discussion regarding whether provoke the weaker from his comfortable position of eksperimenta, izaziva suze hemijskim putem, dok seče privatnog, kao i svih međustepena skale između tih his “induced” tears are real or not (because the truth the stronger one, or to mock them when dealing with crni luk. Dok ponavlja mehaničku radnju sečenja luka, pojmova. Značajno umetničko određenje Šribarovog is that all tears are real, no matter “induced” or not, gender issues and questions “normal” and desirable. Boris iz suza koje su fiziološke, prelazi na emotivni rada je uvođenje sfera sopstvene intimnosti i one way or another) doesn’t speak that much about (Marija Ratković) plač. Ili ne prelazi. Nemoguće je uočiti trenutak privatnog života u umetnost, u uverenju da one mogu the work itself, but about the construction of the transformacije iz koje dopušteni fiziološki plač, prelazi biti lako društveno prepoznatljive i komunikativne, artist among the audience, which places the work In his artistic practice, Boris Šribar has dealt with u besni muški plač nemoći ili transgresioni muški bez obzira da li se radi o porodičnim pitanjima in one frame or another. In his work, Boris doesn’t subjects that are in different ways part of his persona emotivni plač. ili refleksijama društvenih problema na ličnost i promote the answer to the stereotype “men don’t and correspond with him through different contexts. privatni život autora. Ono čime se autor sa posebnim cry”, he is basically annihilating it, avoiding deeply One of the characteristics of his work is frequent Ovim radom, Boris dovodi u ravan fizički i psihički interesovanjem bavi poslednjih godina jesu teme considering it on a personal, social, ethical or political dialogue between the political and the private, doživljaj, aludirajući na svoje iskustvo, kada na osnovu koje su društveno provokativne, koje dovode u level. and relations among those concepts, respectively. fizičkog izgleda autora, publika njegovo delo smešta pitanje tabue, individualni ili moral zajednice u Introducing the spheres of personal, private and u određeni kontekst. Upravo svaka rasprava o tome kojoj nastaju ili ulaze u dijalog sa podrazumevanim This work is Boris’s answer to the cliché, which even intimacy into art, Boris believes that they could da li su njegove indukovane suze „prave“ (jer istina opšteprihvaćenim stavovima (bilo da se radi o naciji, stands as his political decision, and that is that some easily be identified with as well as socially thought. In je da su svake suze prave i takođe – indukovane, na porodici, religiji, seksualnosti,...). Umetnik, dok i sam clichés are so banal that they need to be discarded recent years, Boris has been investigating provocative ovaj ili onaj način) govori ne toliko o radu, koliko o preispituje sopstveni stav o tim temama, stvara rad on the most basic level as being untrue and put to subjects that question taboos – nation, family, konstrukciji umetnika među publikom, iz koje proizlazi koji podrazumeva (inter)reakciju publike. end any further discussion. This policy is entirely religion, sexuality – individual morality as well as the i smeštanje rada u okvir jedne ili druge politike. U confronted with dominant ideologies of tolerance to morality of the entire community. While rethinking his ovom radu, Boris ne propagira odgovor na stereotip the “other” and to the “different”, because through own stands on these subjects, Boris creates works „muškarci ne plaču“; on ga suštinski obesmišljava, Men Don’t Cry, 2010 his work Boris says that there is no other way and that demand and ever relies on (inter)action with the pri tom izbegavši da uđe u njegovo razmatranje, na Video 11’05’’ that artistic response has to be radically supportive audience. ličnom, socijalnom, etičkom ili političkom planu. of that thesis. Every act of tolerance confirms and Problem identiteta drugog-kao-slabijeg, je kroz ovaj The work “Men Don’t Cry” can be seen as one of the renews asymmetry of humans’ relationship to the Borisov rad dekonstruisan i odbačen kao bezvredni attempts to deconstruct the gender stereotype, in weaker ones. In this work, the one who cries is the konstrukt koji je nastao na jednoj nestabilnoj tezi – da Boris’s case, on a personal level. In his work, Boris weaker one, he is not a man. A man who cries is not je nečiji plač odraz slabosti. doesn’t deal with the traditional, empty phrase “men man enough, he is either powerless or he isn’t strong don’t cry”, proving it to be false, because certain enough or responsible enough. Ovaj radikalni čin odbacivanja celokupnog men do cry, nor is he encouraging men to show socio-kulturalnog konteksta patrijarhalnog društva their emotions, because if he did that, he would find 92 93
BORIS ŠRIBAR Muškarci ne plaču / Men Don’t Cry, 2010 video, 11’05’’; fotografija / photo by: Ana Kostić hito š tajerl major technological and social transformation: the invention of firearms. Will mass art production change society in the same way? Sanjala sam san: Politika u doba masovne umetničke produkcije, 2012. Hito Steyerl’s (Berlin) films and essays take the ne-akademsko predavanje digital image as a point of departure for entering a world in which a politics of dazzle manifests as Umetnička produkcija je bila jedan od najvažnijih collective desire. This is to say that when war, volšebnih aktivnosti, rezervisana za muškarce, genocide, capital flows, digital detritus and class 94 95 majstore koji su morali da ulažu mnogo vremena i warfare always take place partially within images, rada da bi razvili svoje veštine. Kako se stvaranje we are no longer dealing with the virtual but with a umetnosti u potpunosti popularizovalo? Kako je confusing and possibly alien concreteness that we are moguće da, danas, bilo ko može da proizvede only beginning to understand. Today the image world, umetnost u suštini? Kako smo došli do toga? Štajerl Steyerl reminds us, is far from flat. And paradoxically, poredi ovaj razvoj sa drugom velikom tehnološkom i it may be in its most trashy and hollowed-out spots društvenom transformacijom: pronalaskom oružja. Da that we can locate its ethics. Because this is where li će masovna proizvodnja umetnosti promeniti društvo forms run free and the altogether unseen and na isti način? unrecognized toy with political projects at the speed of light. It is where spectacle and poverty merge, then Filmovi i eseji Hito Štajerl (Berlin) polaze od digitalne split, then dance. (bkw) slike kao ulazne tačke u svet u kome se politika
zaslepljivanja manifestuje kao kolektivna želja, što HITO STEYERL I Dreamed a Dream: Politics in the Age of Mass Art će reći da kada se rat, genocid i tokovi kapitala, Production / Sanjala sam: Politika u doba masovne umetničke produkcije, 2012 digitalni otpaci i klasni sukobi uvek delimično ne-akademsko predavanje / non-academic lecture; fotografija / photo by: Duško Jelen događaju i u slikama, više se ne bavimo virtuelnim, već zbunjujućom i možda nama stranom konkretnošću koju tek počinjemo da shvatamo. Današnji svet slika, kako nas Hito podseća, je daleko od zaravnjenog. A paradoksalno, na najgorim treš ili ispraznim mestima možemo locirati njegovu etiku. Jer se upravo tu forme oslobađaju, i kao nevidljive i neprepoznatlljive poigravaju s političkim projektima brzinom svetlosti. To su mesta na kojima se spektakl i siromaštvo prepliću, zatim razdvajaju, a zatim plešu. (bkw)
I Dreamed a Dream: Politics in the Age of Mass Art Production, 2012 Non-academic lecture
Art production used to be one of the most arcane of activities, reserved for male masters who had to invest a lot of time and labor to develop their skills. How was the creation of art so thoroughly popularized? How is it possible that basically anyone can claim to produce art nowadays? How did we get here? Steyerl compares this development with another nataša t eofilović muzeja Ars Electronica u Lincu (2007-2008. godine). themes - a metaphor for the motion blur and Kompjuterski generisan motion blur je virtuelna Izlagala je na Incheon International Digital Art Festival the childhood remembrance of freedom in body interpretacija naše percepcije – kako ljudsko oko (2009, Korea), Shanghai eArts Festival (2007, China), movements. a|simetrija, 2013. vidi brzi pokret. Može se reći, što je motion blur duži, DAT (2007, Singapore Science Centre), HTMlles 8 2D i 3D animacija, 7’57’’ duža je i memorija na prethodnu poziciju tela. Veće Festival, (2007, Montreal, Canada), Out of Chaos - Computer simulated motion blur is virtual kašnjenje memorisane pozicije tela duplira figuru i Media, Food, Industrial Products (1996, Museum of interpretation of speed movement as humans percept Animacija a|symmetry je nastala iz jednog pokreta jedno telo se duplira u dva. Virtuelno biće počinje da Contemporary Art, Vienna, Austria). it. It could be said that the longer motion blur equals virtuelne ruke koja čulno i ispitujuće dodiruje prazninu igra sa virtuelnim sobom, a „tango” postaje metafora the longer memory of the body position. The delay of (void) virtuelnog prostora. Ovaj izolovani pokret, nakon za „ples sa vlastitim sećanjima”. ‘the memorized body’s position’ doubles the figure. 96 97 višestrukog umnožavanja se više ne prepoznaje kao a|symmetry, 2013 One becomes two as virtual being starts to play with pojedinačni element, već formira jedinstvenu sliku. Osećaj slobode iz detinjstva nalazio se u dva suprotna 2D & 3D character animation, 7’ 57’’ its virtual-self and the tango becomes a metaphor for Rotacija, simetrija i sukcesivno kašnjenje pokreta pokreta tela. Prvi je prepuštanje padu. Drugi je let, the play with the memories of oneself. generišu apstraktnu formu koja asocira na organsku koji se događao samo u snu. a|symmetry animation is compositing of the same strukturu i poprima kvalitete simbola poput mandale singular arm movement. Virtual arm touches the void The feeling of freedom in my childhood was set ili neke vrste oživljenog pulsirajućeg univerzuma. Jedna za tango reflektuje događaje iz prošlosti, kao of virtual space. This is wondering and sensual touch. between two opposed body movements - letting Multiplikacijom, svaki najmanji trzaj prsta u finalnoj i one iz sadašnjeg trenutka. Sva sećanja, bilo ona The isolated movement, when it is multiplied starts myself fall down and flying, which only happened in kompozitnoj formi dobija dramatični impuls i ubrzanje. radosna ili bolna, osnažuju percepciju i senzibilitet to lose particularity and forms one picture. Rotation, my dreams. Pojedinačno jedno postaje Jedno. života. Život je umetnost, a umetnost je način života. symmetry, mirroring and time delay produce abstract (Nataša Teofilović) form. This form associates on living structure and “one for tango” reflects the past as it happens at this Metod ovakvog generisanja slike je izabran sa gets qualities of symbols like mandala or some kind of very moment in the present. All memories, both joyful namerom da metaforički prikaže ideju stvaranja Nataša Teofilović je umetnica koja istražuje living pulsating universe. Every small and slow single and sad, enrich perception and sensibility in one’s life. sistema značenjâ. Svaka pojedinačna i izolovana vizuelne medije. Njen umetnički razvoj kretao se finger movement in final composition got dramatic Life is art and art is a way of living. pojava, nakon višestrukih opservacija, prelamanja - od neo-konceptualne umetnosti ranih 90-ih do impulse and velocity due to multiplication. Particular „ogledanja” kao u kaleidoskopu, formira centričnu digitalne umetnosti novog veka koja spaja umetnost one becomes the One. Nataša Teofilović is a visual media artist. Her artistic i stabilnu sliku. Beznačajno pojedinačno dobija nauku i tehnologiju. Tehnički posmatrano, ona radi approach evolved from neo-conceptual art in early značenje. Rezultujuća „velika slika” nastala od u različitim medijima, od eksperimentalnog videa The compositing method is chosen following the idea 90’s to digital art of the new century, merging art, pojedičnog nepretencioznog humanoidnog pokreta preko 3D karakter animacije i digitalnih ambijenata. (metaphor) of creation the systems of meaning. Each science and technology. Technically speaking, she upućuje na poruku o jedinstvu, nežnosti, ljubavi, Konceptualno, ove radove objedinjuju teme identiteta particular and isolated artifact, when pass through works in diverse media including experimental video, ljudskoj senzualnosti i nesavršenosti (a-symmetry) u praznom (void) virtuelnom prostoru, percepcije lot of observations, “mirroring”, forms centric, stable, 3D animation performance and digital ambiances. koje nas čine jedinstvenim. virtuelnih bića i ispitivanje granica između virtuelnog reliable picture. Like kaleidoscope. Insignificant one Conceptually, her works are connected with topics of i stvarnog prostora. Njeni digitalni radovi se mogu gets a meaning. The resulted “big picture” produced identity in the void of virtual space, the perception Rad je nastao na osnovu predloga projekta na opisati terminima interdisciplinarne, hibridne with ordinary human like element told us about unity, of virtual beings and the boundaries between virtual konkursu Festivala Ars Electronica i Instituta CERN i intra-aktivne umetnosti. Nataša Teofilović je gentleness, love, human sensuality and imperfection and real spaces. Her digital works belong to category (Ars Electronica Collide@CERN) i odnosio se na doktorirala i magistrirala digitalnu umetnost na (a-symmetry) that make us unique. of interdisciplinary and hybrid art. Nataša won an generisanje slike „univerzuma” umnožavanjem tela Interdisciplonarnim umetničkim studijama Univerziteta honorary award at the international competition for virtuelnog bića upotrebom algoritma kaleidoskopa. umetnosti u Beogradu i diplomirala arhitekturu na The idea evolved from the project proposal for the digital art of the European Organization for Nuclear Zvuk u radu su generičko čelo i moj glas. (Nataša Arhitektonskom fakultetu u Beogradu. Živi u Pančevu. first Ars Electronica Collide@CERN competition which Research– CERN (Geneva) and the Ars Electronica Teofilović) was the creation of the picture of the “universe” using Festival (the first Prix Ars Electronica Collide@CERN). Od dobijenih priznanja, izdvajaju se počasna nagrada body of the virtual actor and kaleidoscope algorithm In addition, her work was in Jury Selection Award at Jedna za tango, 2012. na međunarodnom konkursu iz digitalne umetnosti for the picture compositing. 15th Japan Media Arts Festival, Tokyo. Her work was 3D animacija, 5’ 25’’ Evropskog instituta za fiziku čestica – CERN i The sound is virtually generated cello and my voice. a part of the collection of the digital art museum Ars festivala Ars Electronica (Honorary mention at the Electronica, Linz. She has exhibited internationally: Animaciju Jedna za tango inspirisale su dve naizgled first Prix Ars Electronica Collide@CERN), selekcija One for Tango, 2012 Incheon International Digital Art Festival, Korea; odvojene teme. Prva je metafora za motion blur žirija 15. međunarodnog festivala medijske umetnosti 3D character animation, 5’ 25’’ Shanghai eArts Festival, China; DAT, Singapore (razmazivanje, razvlačenje konture tela pri veoma u Tokiju (Jury Sellection at 15th Japan Media Arts Science Centre, Singapore;HTMlles 8 Festival, brzom kretanju), a druga je sećanje iz detinjstva na Festival, Tokyo) i otkup digitalnog ambijenta s.h.e. One for Tango animation connects two separate Montreal; Museum of Contemporary Art, Vienna slobodu tela pri pokretu. za prikazivanje tokom jednogodišnje stalne postavke and elsewhere. Nataša has a PhD and MA in Digital Art (Belgrade University of Arts, Interdisciplinary Studies) and holds a BA in Architecture from Belgrade University. She teaches 3D character animation at Belgrade University School of Architecture’s Master Program and lives in Pančevo.
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NATAŠA TEOFILOVIĆ a|symmetry / a|simetrija, 2013 NATAŠA TEOFILOVIĆ One for Tango, 2012 3D animacija 2D, 3D animacija / 2D, 3D character animation 7’ 57’’ / 3D animation 5’ 25’ slaven t olj Ja sam opasan, ubijte me pred očima moje dece, space avoids this possibility, offering only his memory I’m Dangerous, Kill Me In Front of My Children’s 2011-2013. of a banal anecdote concerned with an earlier stay Eyes, 2011–2013 performans in Banja Luka, an event that actually can happen Performance Bez naziva, 2008. anywhere, any time. Saying nothing about the state tekst, print U svom performansu Slaven Tolj sedi ispred praznog of the status quo, Slaven actually talks about it at the In his performance, Slaven Tolj is sitting in front belog zida, u čijoj je sredini olovkom ispisana jedna same time subverting the curators’ carte blanche, of a blank white wall with one sentence pencilled “Odustajanje od govora odustajanje je od djelovanja, rečenica: „Ja sam opasan, ubijte me pred očima filled with expectations, opening up thereby an area in the middle: “I’m dangerous, kill me in front of ali moguće ga je tumačiti i kao “negativ akcije“ moje dece”. Inspirisan kontradikcijom nasilnog of “micronegotiations” in which the two sides do my children’s eyes.” Inspired by the contradiction poput rada Bez naziva Slavena Tolja, koji izravnom ubistva Osame bin Ladena pred očima svoje ćerke, i not necessarily share the same positions, the same of violently killing Osama bin Laden in front of his 100 101 reakcijom na poziv da govori odgovara negacijom sa osećajem stida za ono što dete sada preživljava, “thoughts and feelings”. His black-humour “gesture” daughter, and a sense of disgrace for what that child govora. Njegov je prijedlog s jedne strane gesta Tolj izražava kako „mediji utiče na našu percepciju - a decision to make plain his “giving up”, his must now live through, Tolj expresses how “media odustajanja od (su)djelovanja i način da se zaobiđe vrednosti u stvarnosti”, i daje nam ponekad „površnu pessimism and feeling of the futility and impossibility influences our perceptions of values in reality,” and izravan govor – na neki način, on također preuzima dubinu”. of the artist to truly act and communicate, being able sometimes “gives us a superficial depth.” poziciju Bartlebya, s prijedlogom koji nije ni odbijanje of nothing but mere “story telling”- actually throws ni prihvaćanje, nego upravo nedokučivi prostor Slaven Tolj je vizuelni umetnik iz Dubrovnika, koji light on the very power of speech. This work, however, Slaven Tolj is a visual artist from Dubrovnik who lives potencijalnosti sadržane u odgovoru “Radije ne trenutno živi i radi u Rijeci. U svojoj umetnosti koristi can be interpreted as the artist’s radical appropriation and works in Rijeka. In his art, he uses photography, bih“, koji ipak nije odgovor bez posljedica. U tom fotografiju, instalacije, umetnost ready-made-a i of one of Badiou’s “Fifteen Theses”, in which he says: installations, ready-made art and performance to smislu Tolj – na poziv da u javnom prostoru Banja performansa kako bi ukazao na probleme u političkoj, “It is better to do nothing than to contribute to the indicate problems in the political, social and cultural Luke nešto izravno izgovori - zaobilazi tu mogućnost, društvenoj i kulturnoj sferi. Slaven Tolj je predstavnik invention of formal ways of rendering visible that spheres. Slaven Tolj is a representative of new artistic nudeći tek sjećanje na banalnu anegdotu vezanu uz nove umjetničke prakse u Hrvatskoj, u koju se which Empire already recognises as existent.” For, practices in Croatia, which includes post-object art, njegov raniji boravak u Banja Luci, na događaj koji ubraja post-objektna umetnost, performans, akcija, “[s]ince it is sure of its ability to control the entire performance, action, happening, land art, ambient, se zapravo mogao dogoditi bilo gdje i bilo kad. Ne happening, land art, ambijent, instalacija, novi mediji i domain of the visible and the audible via the laws installation, new media and more. He graduated from govoreći ništa o stanju statusa quo, Slaven govori drugo. Diplomirao je na Akademiji likovnih umetnosti governing commercial circulation and democratic the Academy of Fine Arts in Sarajevo in 1987 (the upravo o njemu, istovremeno subvertirajući kustoski Sarajevu 1987. godine, u klasi profesora Petra communication, Empire no longer censures anything. class of professor Peter Waldeg). He represented carte blache ispunjen očekivanjima, otvarajući time i Valdega. Predstavljao je Hrvatsku na 51. bijenalu u All art, and all thought, is ruined when we accept this Croatia at the 51st Venice Biennial in 2005. He is područje “mikro-pregovora“ u kojem dvije strane ne Venciji 2005. Trenutno je direktor Muzeja moderne i permission to consume, to communicate and to enjoy. currently the director of the Museum of Modern and dijele nužno iste pozicije, ista “mišljenja i osjećaje“. savremene umetnosti u Rijeci. We should become the pitiless censors of ourselves.” Contemporary Art in Rijeka. Njegova crnohumorna “gesta“ – odluka da obznani (Ivana Bago and Antonia Majača) svoje “odustajanje“, pesimizam i osjećaj uzaludnosti i nemogućnosti umjetnika da uistinu djeluje, da Untitled, 2008 komunicira, već može tek “pričati“ – rasvjetljava Text, print upravo njegovu moć govora. Ovaj rad, međutim, možemo interpretirati upravo kao umjetnikovo “Relinquishing speech is relinquishing action, but it radikalno prisvajanje jednog od Badiouovih Petnaest can be also explained as the negative of action, like postulata o umjetnosti u kojem kaže: “Bolje je ne the work Untitled by Slaven Tolj, a direct reaction činiti ništa nego doprinijeti stvaranju formalnih načina that to the call to speak replies with a negation of vizualizacije onoga što Imperij već prepoznaje kao speech. His proposal is on the one hand a gesture of postojeće (…)” Budući da je svjestan svoje moći giving up on (co)acting and a way of bypassing direct da kontrolira čitavu domenu vidljivog i slušljivog speech - in some way, he also takes up the Bartleby putem zakona koji reguliraju komercijalnu cirkulaciju position, with a proposal that is neither a rejection i demokratsku komunikaciju, Imperij više ništa ne nor an acceptance, but actually an unfathomable cenzurira. Sva umjetnost, sva misao, uništena je onog potentiality contained in the answer “I would prefer trenutka kad prihvatimo ovu dozvolu da konzumiramo, not to”, which however is not an answer unattended
komuniciramo i uživamo. Moramo postati bešćutni by consequences. In this sense, Tolj, at the invitation SLAVEN TOLJ Ja sam opasan, ubijte me pred SLAVEN TOLJ Bez naziva / Untitled, 2008, cenzori samih sebe.” (Ivana Bago i Antonija Majača) to say something directlyin Banja Luka in a public očima moje dece / I am dangerous, kill me tekst, print; fotografija in front of my childrens eyes, performans / / photo by: Duško Jelen performance, 2011-2013; fotografija / photo by: Duško Jelen milica t omić i politike je glavna tema u mom radu. Istražujem what is the relationship between the kitchen, women relationships between these medias, can be pondered, mnoštvo načina na koje se film, video i performans, and revolution? created, defined, performed and transformed. uključujući diskursivne/obrazovne platforme, kao i Through series of interviews with women from Da li revolucija počinje ili se završava u kuhinji?, arhitektonsku i prostornu praksu, kroz složene odnose Ljubljana, Rijeka, Tuzla, Srebrenica and Belgrade, and I am a founding member of a New Yugoslav art/theory 2011-2013 između tih medija mogu razmatrati, stvarati, definisati, through series of questions about the relationship group, Grupa Spomenik [Monument Group, 2002] digitalna štampa, TV emisija/ Gastro-nomad RTS, izvesti i preobraziti. between the national and the bourgeoise kitchens and one of the founders of the international platform fanzin we got a series of narratives that in a complex way Yugoslav Studies and of the Working Group Four Jedna sam od osnivačica nove jugoslovenske respond to these issues. The interviews in this work Faces of Omarska. I have participated in international Ejzenštajnova beleška: „Nemačke žene su krive što je umetničko/teorijske grupe, Grupe Spomenik are, in fact, the first report on how women of different exhibitions such as 24th Sao Paulo Biennale; 49th 102 103 zaustavljen talas socijalističkih revolucija u Evropi, jer (Monument Group, 2002); jedna od osnivačica generations and backgrounds continued, were forced, and 50th Venice Biennales; 8th Istanbul Biennial; 15th su uspevale od bednih uslova u kojima su živele da međunarodne platforme Jugoslovenskih studija i found new solutions, or refused to exercise a kind Sydney Biennale; Manufacturing Today/Trondheim načine prijatan dom i da od jednog krompira prehrane radne grupe Četiri lica Omarske. Učestvovala sam of domestic, woman’s, family, social testament, and Biennale; 10th Sharjah Biennial; Odessa, Biennial, čitavu porodicu”, jedna je od prvih formulacija na međunarodnim izložbama poput: 24. bijenala created different forms and practices of feeding. etc. My work has been exhibited in the Museum koje povezuje kuhinju, žene i revoluciju. Kakav je u Sao Paolu; 49. i 50. Venecijanskog bijenala; 8. (Milica Tomić) voor Moderne Kunst, Arnhem, Holland; Kunsthalle odnos kuhinje i socijalističke revolucije u Jugoslaviji, međunarodnog bijenala u Istanbulu; 15. bijenala u Wien, Austria; Moderna Museet, Stockholm, Sweden; odnosno kuhinje, žene i revolucije? Sidneju; Manufacturing Today/bijenale u Trondhajmu; Authors of the recipes: MUMOK – Museum Moderner Kunst; Stiftung Ludwig Kroz seriju intervjua sa ženama iz Ljubljane, Rijeke, 10. Sharjah bijenale; Bijenala u Odesi itd. Moji Ivanka Vanja Tomić, technologist in pension, Belgrade Wien, Vienna, Austria; Fundacio Joan Miro, Barcelona, Tuzle, Srebrenice i Beograda i kroz seriju pitanja o radovi su izlagani u: Museum voor Moderne Kunst Staša Zajović, activist, Belgrade Spain; Ludwig Museum Budapest, Hungary; Malmo odnosu narodne i buržuaske kuhinje dobili smo seriju iz Arnhema u Holandiji; Kunsthalle, Beč; Moderna Svetlana Slapšak, anthropologist, Ljubljana Konsthall, Malmo, Sweden; Palazzo Della Triennale narativa koji na kompleksan način odgovaraju na Museet, Stokholm; MUMOK- Museum Moderner Rufeida Buhić, housewife, Žutica Milano, Milan, Italy; Museum of Contemporary Art ova pitanja. Intervjui u ovom radu su, zapravo, prvi Kunst; Stiftung Ludwig Wien, Beč; Fundacio Joan Habiba Mašović, housewife, Tuzla Belgrade, Serbia; GfZK – Galerie fur Zeitgenussische izveštaj o tome kako su žene različitih generacija i Miro, Barselona; Ludwig Museum Budimpešta; Malmo Nihada Čehajić Restarović, chief of cuisine in the Kunst, Leipzig, Germany; State Museum of profesija nastavile, bile primorane, našle nova rešenja, Konsthall, Malme; Palazzo Della Triennale Milano; Student Cultural Centre in pension, Tuzla Contemporary Art Thessaloniki, Greece; Kunsthalle ili odbile da praktikuju jednu vrstu kućnog, ženskog, Muzej savremene umetnosti u Beogradu; GfZK- Milijana Babić, visual artist, Rijeka Fridericianum, Kassel, Germany; Copenhagen porodičnog, društvenog zaveta, i krenule u drugačije Galerie fur Zeitgenussische Kunst, Lajpcig; Državni Contemporary Art Center, Copenhagen, Denmark; oblike i prakse hranjenja. (Milica Tomić) muzej savremene umetnosti u Solunu; Kunsthalle Milica Tomić: “I was born in Belgrade, Yugoslavia. Brooklyn Museum of Art, New York, USA; Freud Fridericianum, Kassel; Centar savremene umetnosti Today I work as an independent conceptual artist, Museum, London, UK; South London Gallery; KIASMA Autorke recepata /Ivanka Vanja Tomić, tehnološkinja Kopenhagen; Brooklyn Museum of Art, New York, exploring different fields, media, genres and Nykytaiteen Museo, Helsinki, Finland; Nasjonalmuseet u penziji, Beograd USA; Frojdov muzej, London; galerija „Južni London”; methods of artistic practice. My work centers on for Kunst, Arkitektur og Design, Oslo, Norway; Staša Zajović, aktivistkinja, Beograd KIASMA Nykytaiteen Museo, Helsinki; Nasjonalmuseet researching, unearthing and bringing to public Stedelijk Museum, Amsterdam, Holland; Madre Svetlana Slapšak, antropološkinja, Ljubljana for Kunst, Arkitektur og Design, Oslo; Stedelijk debate issues related to political violence, memory, Museum, Napoli, Italy, etc. Rufeida Buhić, domaćica, Žutica Museum, Amsterdam; Madre Museum, Napoli itd. trauma and social amnesia with a particular attention Habiba Mašović, domaćica, Tuzla to the tensions between personal experience Nihada Čehajić Restarović, šefica kuhinje Studentskog and media-constructed images. The relation, the centra u penziji, Tuzla Does revolution begin or end in the kitchen?, short-circuit between intimacy and politics is a main Milijana Babić, vizualna umetnica, Rijeka 2011–2013 topic in my practice. I explore a multitude of ways Digital print, TV show/ Gastro Nomad RTS, fanzine in which film, video and performance, including Milica Tomić: „Rođena sam u Beogradu, u Jugoslaviji. discursive/educational platforms and architectural Danas radim kao nezavisna konceptualna umetnica; Eisenstein’s Note: “German women are guilty for and spatial practices, through a complex of istražujem razne oblasti, medije, žanrove i načine stopping the wave of socialist revolutions in Europe, umetničke prakse. Moj rad se temelji na istraživanju, because they managed in poor conditions in which iskopavanju i iznošenju javnosti na debatu pitanja they lived in to make a cozy home and feed the u vezi sa političkim nasiljem, sećanjem, traumama whole family with just one potato,” one of the first i socijalnoj amneziji, pri čemu posebno fokusiram formulations that connects kitchen, women and tenziju između ličnog iskustva i medijski konstruisanih revolution. What is the relationship between the slika. Taj odnos, taj kratak spoj između intimnosti kitchen and the socialist revolution in Yugoslavia, or 104 105
MILICA TOMIĆ Da li revolucija počinje ili se završava u kuhinji? / Does the Revolution Begin or End in the Kitchen?, 2011 -2013; digitalna štampa, fanzin / digitalni print, fanzine fotografija / photo by Ana Kostić
Autorke recepata /Autors of the recipes: Ivanka Vanja Tomić, tehnološkinja u penziji / Technologist in pension, Beograd Staša Zajović aktivistkinja / activist, Beograd Svetlana Slapšak antropološkinja, ISH, Fakultet za postdiplomske humanističke studije / Anthropologist ISH, Faculty for humanistic studies, Ljubljana Rufeida Buhić domaćica / Housewife, Žutica Habiba Mašović domaćica /Housewife, Tuzla Nihada Čehajić Restarović šefica kuhinje Studentskog centra Tuzla u penziji / Chief of cuisine in the Student Cultural Centre in pension, Tuzla Milijana Babić vizuelna umetnica / artist, Rijeka 106 107
forum, forum, kustoska š kola curatorial s chool
Kolektiv a7.außeneinsatz Collective a7.außeneinsatz (Margaret Šuc, Greta Hoheisel), (Margret Schütz, Greta Gozde Ilkin, h.arta grupa Hoheisel), Gözde Ilkin, The (Marija Krista, Anka Gjemant, Group h.arta (Maria Crista, Rodika Tahe), mreža umetnica ff Anca Gyemant, Rodica Tache), (Antje Majevski, Šarlot Kalinan, The Network of Artists ff (Antje Julijane Zolmsdorf), Saša Majewski, Charlotte Cullinan, Kerkoš, Margareta Kern, Jelena Juliane Solmsdorf), Saša Vesić, Ilegalni bioskop, Olga Kerkoš, Margareta Kern, Jelena Dimitrijević, Marija Ratković, Vesić, Illegal Cinema, Olga saradnice i saradnici i publika Dimitrijević, Marija Ratković, collaborators and publics margareta kern, g rupa Forum sa Margaretom Kern (uvodničarka i margareta k ern, t he g roup and moderation) h.arta (Maria Crista, Anca h.arta (marija krista, anka moderatorka), grupom h.arta (Marija Krista, Anka h.arta (maria crista, anca Gyemant, Rodica Tache), Gözde llkin, ff network of gjemant, rodika tahe), Gjemant, Rodika Tahe), Gozde Ilkin, mrežom gyemant, rodica tache), artists (Antje Majewski, Charlotte Cullinan, Juliane gozde i lkin, u metnička umetnica ff (Antje Majevski, Šarlot Kalinan, Juliane gözde i lkin, the ff network Solmsdorf), a7.außeneinsatz (Margret Schütz, Greta mreža ff (antje majevski, Solmsdorf), kolektivom a7.außeneinsatz (Margret of artists (antje majewski, Hoheisel) šarlot kalinan, juliane Šuc, Greta Hoheisel) charlotte cullinan, zolmsdorf),kolektiv juliane solmsdorf), h.arta (Timișoara) is a group of three women artists a7.außeneinsatz (margret h.arta (Temišvar) je grupa koju čine tri umetnice, a7.außeneinsat (margret whose projects focus on knowledge production čiji su projekti fokusirani na proizvodnju znanja i and alternative educational models in a feminist 108 šuc, greta hoheisel) schütz, greta hoheisel) 109 alternativne obrazovne modele u feminističkom okviru. frame. They use different forms and formats, such Koriste različite forme i formate, poput događaja, Forum, October 13th 2013 as events, discussions, publications and everyday Forum, 13. Oktobar 2013. diskusija, publikacija i svakodnevnih predmeta, sa No One Belongs Here More Than You objects, attempting to create new spaces for political Niko ne pripada tu više nego ti ciljem stvaranja novog prostora političkog izražavanja expression and action. Our projects are most often i akcije. Njihovi projekti su u najvećem broju slučajeva This forum discussion involving two collectives, based on collaboration and we frequently work U ovoj diskusiji – u kojoj učestvuju dva kolektiva, zasnovani na saradnji i često rade zajedno sa drugim one network of artists and two individual artists together with other artists, NGOs, human rights jedna mreža umetnica i dve samostalne umetnice umetnicima, nevladinim organizacijama, aktivistima will open up the questions around collective and activists and schools. Our methodology is based – otvoriće se pitanja o kolektivnim i individualnim za ljudska prava i školama. H.arta metodologija individual practices as artists and cultural workers, on friendship, which we understand as an everyday praksama, umetnika/ca i kulturnih radnika/ca, od je zasnovana na prijateljstvu koje shvatamo kao some of whom are also involved with/in social negotiation of differences, as a way of learning kojih su neke aktivne i u društvenim pokretima. svakodnevno pregovaranje o različitosti, kao način movements. The shift between artistic work and social from each other, and as a political statement about Povezivanje umetničkog rada i društvenog angažmana učenja jednih od drugih, kao politički stav o snazi engagement operates on different levels and it is as the power of solidarity.HYPERLINK “http://www. funkcioniše na različitim nivoima i kao takvo je solidarnosti. such perceived through diverse forms of creating, hartagroup.ro” \h percipirano kroz različite forme stvaranja, rada, working, protesting and finally living. The question pobune i, konačno, življenja. Uvek se postavlja pitanje ff (Berlin) je živa mreža umetnica/ka koja stalno always is what is an artistic action and what is the ff (Berlin) is a living and evolving network of artists. šta je umetnička akcija i šta je predmet umetnosti u evoluira i menja se. ff je način rada i komuniciranja object of art within the frame of socially and politically ff is a way of working and communicating through okviru društveno i politički angažovanih umetničkih kroz umetnost, koja nastaje iz saradnje i razgovora u engaged art practices that is aimed at constituting a art that grows out of collaborations and discussions praksi koje imaju za cilj da konstituišu društveno bliskom ličnom kontaktu. Kroz prijateljstva i saveze, socially aware and responsible political subject. The in close personal contact. Through friendships and osvešćene i odgovorne političke subjekte. Glavno stvaramo umetnost koja je suštinski element naših main question related to the topic should be what alliances we make art that is an essential element of pitanje u vezi sa temom je: koje političke, estetske života. „Umetnost je oblast u kojoj se krećemo i political, aesthetic and social positions are at stake our lives. Art is a field in which we move and meet, i društvene pozicije su dovedene u pitanje kada se srećemo, stvarajući i transformišući je. Različiti smo, when working collectively with/in contemporary art while creating and transforming it. We are different, radi kolektivno sa/ u savremenoj umetnosti danas? I svako ima sopstveni jezik i istoriju. Naša heterogenost today? And how does it affect the politics of everyday each of us having our own language and history. kako te prakse utiču na politiku svakodnevnog života je naša snaga. Feminizam za nas znači jednakost za life and shape its sociality? Is working collectively Our heterogeneity is our strength. Feminism for us i oblikuju njegovu društvenost? Da li je kolektivan rad sve: ljudska bića svih polova i porekla.“ Za projekat as artists and cultural workers inherently a form of means equality for all: human beings of all genders umetnika/ca i kulturnih radnika/ca inherentno oblik Privremena autonomna zona (Temporary Autonomous resistance to the logic of capital, or is collectivity and all origins. For Temporary Autonomous Zone (TAZ), otpora logici kapitala, ili je kolektivnost jednostavno Zone - TAZ), ƒƒ poziva druge feminističke umetnike da simply a mode of networking in a more supportive, ƒƒ asks other feminist artists to participate in the način umrežavanja koji podrazumeva više podrške i učestvuju u stvaranju Privremene autonomne zone less alienating way (e.g. exhibition openings)? creation of a Temporary Autonomous Zone in which manje otuđivanja? u okviru koje mogu da realizuju umetničke projekte, they can realize art projects, performances, lectures, performanse, predavanja, diskusije, filmske večeri, Taking into account different social, historical and discussions, film evenings, parties and other events. Uzimajući u obzir različite društvene, istorijske i žurke i druga dešavanja. Do sada je TAZ realizovana u political contexts that we are operating in, the So far, TAZ has been realized at Lisa Ruyter Gallery, političke kontekste u kojima delujemo, diskusija će se Galeriji Lisa Ruyter u Beču i u Galerie im Körnerpark discussion will reflect issues such as: visibility and Vienna and at Galerie im Körnerpark, Berlin; upcoming baviti problemima kao što su: vidljivost i nevidljivost u Berlinu. Sledi izdanje u studiju Galeria u Varšavi. invisibility in terms of anonymity and authorship; the is the edition at Galeria Studio, Warsaw. u smislu anonimnosti i autorstva, politika pripadanja http://fffffff.org/ politics of belonging and of producing new socialites; i stvaranja nove društvenosti; uloga koju feminizam(i) the role that feminism(s) has in working together in See exhibition for bios of Margareta Kern and Gözde ima(ju) u zajedničkom radu u polju savremene Margareta Kern, Gozde Ilkin (vidi pod: biografije the field of contemporary art through/within social Ilkin and for a7.außeneinsatz curatorial school. umetnosti, kroz/unutar društvenih pokreta i politički umetnica), a7.außeneinsatz (vidi pod: kustoska škola) movements and politically engaged practices. angažovanih praksi. Forum discussion with Margareta Kern (introduction ff a7.außeneinsatz, Bauarbeiterchor / Kor radnika
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h.arta (Maria Crista, Anca Gyemant, Rodica Tache) No One Belongs Here More Than You, forum discussion with collectives: h.arta (Maria Crista, Anca Gyemant, Rodica Tache), ff (Antje Majewski, Charlotte Cullinan, Juliane Solmsdorf), a7.außeneinsatz (Margret Schütz, Greta Hoheisel), and artists Gözde Ilkin and Margareta Kern (moderator); fotografija / photo by: Duško Jelen a7.außeneinsatz dela je u tome da kreira načine eksperimentalne Can art education not only transfer authorized as well as a practical part, is to develop collectively kolektivne ‘art-edukacije’ u vezi sa mogućim načinima narratives but also create spaces for critical thinking? possible experimental ‘art education’ formats/walks vođenjima kroz izložbu 54. Oktobarskog salona. The workshop We (Don’t) Need (No) Education will through the 54th October Salon. Kustoska škola o eksperimentalnom umetničkom provide an insight into examples of art education a7.außeneinsatz is a collective of “art educators” obrazovanju, 14. Oktobar 2013 a7.außeneinsatz je kolektiv „art edukatorki“ since the 1990s and focus on projects and theories (Kunstvermittlerinnen) based in five different German Nama (ne)treba obrazovanje (Kunstvermittlerinnen) sa sedištem u pet nemačkih understanding art education as a critical practice. cities (Berlin/Kassel/Freiburg/Münster/Munich) gradova (Berlin/Kasel/Frajburg/Minster/ Besides the theoretical examination of art education, and working at the crossroads of art education, Učesnice/ci kustoske škole a7.außeneinsatz Minhen), koji radi na raskršću umetničke edukacije, a7.außeneinsatz will, together with workshop performance lecture, theatre and curatorial practices, Juan Pablo Delgado Berman, Kristina Drašković performansa predavanja, pozorišta i kustoskih praksi, participants, focus on the performative dimensions all with the goal of breaking through the ossified 112 113 Bočkov, Aleksandar Stojanović, Aleksandra Milošević, sa ciljem razbijanja okoštalih tradicija institucionalne of possible art education situations, reflecting on traditions of institutional art education. Since 2010, Ana Sarvanović, Kristina Grebenar, Tanja Đorđević, umetničke edukacije. Od 2010, realizovao je the use and power of not only language but also of they have realized experimental art education Tatjana Nikolić, Tijana Zebić, Vladimira Lacmanović, eksperimentalne projekte umetničke edukacije the body, voice, space and choreography. At the projects in cooperation with different art institutions Ana Nedeljković, Katarina Radulović u saradnji sa različitim umetničkim institucijama workshop, we will initiate some practical exercises (e.g. KW – Institute of Contemporary Art/Berlin, (npr. KW – Institute savremene umetnosti/Berlin, and short performative interventions in the exhibition Kunsthalle Fridericianum/Kassel, Museum für neue Koordinatorke kustoske škole a7.außeneinsatz Kunsthalle Fridericianum/Kassel, Museum für neue space that question relations between artworks, Kunst/Freiburg), schools and art academies. The two (Margret Schütz, Greta Hoheisel) Kunst/Freiburg), škole i umetničke akademije. Dve space, institution, visitor and art educator. One of members of the a7.außeneinsatz collective Margret članice a7.außeneinsatz collective-a, Margaret Šuc the goals of the workshop, consisting of a theoretical Schütz and Greta Hoheisel will conduct the workshop Umetničko obrazovanje – (najčešće diskurzivno) u i Greta Hoheisel pradstavljaju radionicu na 54. at the 54th October Salon. izložbenom prostoru posreduje između umetničkog Oktobarskom salonu. rada, publike i institucija – reproducirajući tradicionalne i ‘autorizovane’ diskurse i ostavlja malo prostora za eksperimentalne pristupe i alternativne Curatorial School about experimental art interpretacije. Umesto da profiliše edukatorke i education October 14th 2013 edukatore kroz zajedničko polje delovanja između We (Don’t) Need (No) Education publike, umetnosti i institucija, ono zapravo autorizuje glasnogovornike/ce institucija. Participants of a7.außeneinsatz curatorial school Juan Pablo Delgado Berman, Kristina Drašković Ženski kolektiv a7.außeneinsatz preispituje ovaj Bočkov, Aleksandar Stojanović, Aleksandra Milošević, tradicionalni pristup i postavlja pitanje: Može li Ana Sarvanović, Kristina Grebenar, Tanja Đorđević, umetničko obrazovanje da stvori prostor kritičkog Tatjana Nikolić, Tijana Zebić, Vladimira Lacmanović, mišljenja, umesto da služi samo kao transfer Ana Nedeljković, Katarina Radulović autorizovanih naracija? Radionica Nama (ne) treba obrazovanje ponudiće uvid u primere umetničkog Coordinators of the curatorial school a7.außeneinsatz obrazovanja od 90-ih i fokusiraće se na one projekte Margret Schütz, Greta Hoheisel i teorije koje shvataju umetničko obrazovanje kao kritičku praksu. Pored teorijskog ispitivanja Art education – (usually discursive) activities in umetničkog obrazovanja, kolektiv a7.außeneinsatz the exhibition space mediating between art works, će se zajedno sa učesnicama i učesnicima baviti visitors and institution – reproduces traditionally performativnim dimenzijama mogućih umetničko- canonical and ‘authorized’ discourses and leaves little obrazovnih situacija, refelektujući upotrebu i moć space for experimental approaches and alternative ne samo jezika, već isto tako tela, glasa, prostora interpretations. Instead of profiling art educators i koreografije. Na radionici ćemo pokazati neke as interfaces between the public, art works and a7.außeneinsatz Nama (ne)treba obrazovanje, 14. oktobar praktične vežbe, kratke performativne intervencije institution, art educators are normally spokesmen/ We (Don’t) Need (No) Education, curatorial school by a7.außeneinsatz on experimental art education, / Nama (ne) treba obrazovanje, kustoska škola o eksperimentalnom umetničkom obrazovanju u izložbenom prostoru koje preispituju međusobnu women authorized by the institution. koju vode članice kolektiva a7.außeneinsatz; fotografija / photo by: Duško Jelen povezanost umetničkog rada, institucija, prostora, posetiteljki i posetilaca i edukativnog pristupa. Cilj A German (all-woman) collective, a7.außeneinsatz radionice koja se sastoji od teorijskog i praktičnog challenges this tradition and is led by the question: jelena v esić predavanje, 14. Oktobar 2013 Jelena Vesić je nezavisna kustoskinja, kulturna with the Red Min(e)d collective, is envisioned as a Administracija estetike ili podzemni tokovi aktivistkinja, autorka, urednica i predavačica; živi i five-day discussion session dedicated to the central ugovaranja umetničkog posla – Između ljubavi i radi u Beogradu i inostranstvu. Kourednica časopisa questions of the exhibition No One Belongs Here More Kustoska škola pre/ispisivanja izložbe, novca, između novca i ljubavi …, Prelom – Časopis za sliku i politiku, Beograd Then You – the questions of political feminism, (non) 10-15. Oktobar 2013 2001–2009. i jedna od osnivača Prelom Kolektiva, human nature, the issues of community and of the Izložba kao skriptovani prostor: Načini proizvodnje Ovo predavanje će se baviti načinima na koje koncepti Beograd 2005–2011. Jedna je od osnivača mreže commons, and of the institutional relations of art. The i proizvodnja načina ljubavi i novca naseljavaju kontekst proizvodnje i nezavisnih organizacija Druga scena, Beograd, od special focus of the school will be put on the modes u saradnji sa Akademijom Jan Van Ajk/InLab interpretacije umetnosti. Ljubav i novac, kao društveni 2005/6. kourednica žurnala Red Thread – Žurnal za of production of the exhibition – that is, the relations odnosi, biće analizirani u napregnutom ideološkom društvenu teoriju, savremenu umetnost i aktivizam; between its “background” and its “foreground”, and 114 115 Učesnice/ci kustoske škole LA prostoru postavljenom između autonomije umetnosti od 2009, članica je redakcije časopisa Art Margins the possibility of the (political) potential of art to Sonja Lau, Marcel Dickhage, Cathleen Schuster, Vijai i heteronomije rada – prostoru u kojem obično za umetnost i teoriju (MIT Press). Njeno istraživanje produce different modes. Patchineelam, Stefano Faoro, Rachel O’Reilly, Amani obitavaju oni koji proizvode kulturne sadržaje i koji se je posvećeno politikama reprezentacije u umetnosti Maihoub, Radmila Joksimović, Mirjana Dragosavljević, svakodnevno susreću sa novom-starom ucenom ljubav i vizuelnoj kulturi, praksama samoorganizacije i The outcome of the school should be a discussion Olga Dimitrijević, Vladimir Jerić, Vladimir Bjelčić, Sava vs. novac koja operiše u ovom domenu. politizacije kulturnog rada. U svojoj kustoskoj praksi, scenario – that is, a dense note or a written trace Jokić, Tanja Marković Pokušaćemo da terenski priđemo aparatu produkcije, često eksperimentiše sa različitim formatima, of this collective process, which the participants banalnosti svakodnevice u kojoj se odvijaju različite metodologijama, kontekstualnim i kolaborativnim of the school will produce and edit as a chapter in ko-urednica i koordinatorka kustoske škole prakse administriranja estetskog, da se „voajerski” aspektima umetnosti. the exhibition catalogue. The method, the form and Jelena Vesić približimo ekonomskoj realnosti uposlenica i format of such a “written trace” will emerge out of the uposlenika uvek ekspanzivnog sveta umetnosti – u discussion process, and as the consequence of the Skriptovani prostor izložbe nastaje u „trenutku svim njegovim domenima (samo-)kritičkih negacija, Curatorial School of writing about the exhibition process of collective decision making. javnosti”. To je prostor koji nastaje kroz komunikaciju transformacija, prekoračenja, uključenja i isključenja 10th – 15th 2013 i socijalizaciju, ponekad i zajedničku akciju, kroz – i fokusiramo se na sam trenutak u kojem se rađaju The Exhibition As Scripted Space: The Means of Lecture, October 14th 2013 forme društvenosti – u pitanju je teren događaja projekti i saradnje. Kako se umetnost-kao-ideologija Production and The Production of Means, October Administration of Aesthetics or On Undercurrents na kome se prelama proklamovano i kontingentno, nastanjuje u govoru koji se u tim prilikama koristi? of Negotiating Artistic Jobs Between Love and nominalno i aktualno, diskurzivno, senzibilno i Kako se uspostavljaju odnosi produkcije? Kako LA curatorial school participants Money, Between Money and Love ... svakodnevno. Skriptovani prostor je prostor pozornice, individualni akteri i akterke u tome posreduju? Sonja Lau, Marcel Dickhage, Cathleen Schuster, Vijai ali i prostor svakodnevnog života, odnosno, njihovog Patchineelam, Stefano Faoro, Rachel O’Reilly, Amani This lecture will explore different modes in which ukrštanja, kao rezultat organizacije proizvodnje Postavićemo akcenat na nezvanične i para-legalne Maihoub, Radmila Joksimović, Mirjana Dragosavljević, concepts of love and money inhabit the contexts umetničkih sadržaja. dogovore o umetničkoj produkciji – često postavljene Olga Dimitrijević, Vladimir Jerić, Vladimir Bjelčić, Sava of production and interpretation of art. Love and na p2p osnovama – kao dominantnim formama Jokić, Tanja Marković money – as the social relations – will be analysed Kustoska škola za umetnost i politiku, u saradnji pregovaranja o “isporuci” sadržaja ili stimulaciji within the ideological space strained by its internal sa kolektivom Red Min(e)d, osmišljena je kao učešća u različitim kulturnim sadržajima. Dramaturgije co-editor and coordinator of the curatorial school tensions, placed between the autonomy of art and petodnevna diskusiona sesija posvećena centralnim procesa ili događaja ugovaranja umetničkog posla Jelena Vesić the heteronomy of work, a space usually populated by pitanjima izložbe No One Belongs Here More Than o kojima će biti reč odnosiće na teren na kojem those who produce cultural content and who face, on You – pitanjima političkog feminizma, (ne)ljudske operišu protagonisti i protagonistkinje koje žive A scripted space of the exhibition emerges out of a daily basis, the new-old blackmail love vs. money prirode, zajednice i zajedničkog i institucionalnih na dnu ekonomske lestvice „preduzeća kulture” – its “public moment”. Such a space is being created that operates in this domain. odnosa u umetnosti. Poseban fokus Škole čine modusi slobodni pisci, freelance predavačice, eksperimentalni through communication and socialization, sometimes proizvodnje izložbe, odnosno odnosi njene „pozadine” kuratori, kritički orijentisane likovne umetnice, levi through a collective action, through various forms of In our attempt to understand this apparatus of i njenog “pročelja”, kao i pitanja (političkog) intelektualci, alternativne pozorišne trupe, nezavisni sociability – it is the terrain of events that intersects production, we will try to approach it from a close potencijala umetnosti da proizvodi drugačije moduse. kritičari, esejistkinje, kolumnisti itd. the fields of the proclaimed and the contingent, the distance, from where we can see different practices nominal and the actual, the discursive, the sensible of administration of the aesthetical in its “everyday Jedan od ishoda škole biće diskusioni scenario, Savremeni život je, za aktere u ovom polju, obeležen and the everyday. The scripted space is the space of banality”; we will try to approach “voyeuristically” zgusnuta beleška ili pisani trag ovog kolektivnog nominalnošću ključnih reči i izraza, tag cloud a stage, but also the space of everyday life, or rather, the economic reality of the employees of the procesa koji će učesnice i učesnici škole prirediti kao mentalitetom i količinom komunikacije koja sve it is the intersection of the two, the result of the ever-expanding art world – in all its domains of (self-) deo kataloške publikacije. Metod, forma i format ovog njegove učesnike pretvara u „lingvističke životinje”, organization of the production of the artistic contents. critical negotiations, transformations, transgressions, “pisanog traga” nastaće u diskusionom procesu i kao formirane i ograničene matricom jezika. inclusions and exclusions – and to focus on the very posledica kolektivnog odlučivanja. A curatorial school for art and politics, in collaboration moment in which the projects and collaborations are set in motion. How does art-as-ideology inhabit the For the actors in this field, contemporary life is speech used on these occasions? How are the modes marked by the nominality of keywords and terms, by of production established by means of this speech? the tag cloud mentality and amount of communication How do individual actors mediate these processes? that transforms all its participants into “linguistic animals” – shaped and limited by the matrix of We will focus on non-official, para-legal and p2p-based language. agreements on art production – as the dominant form of negotiation about “content delivery”, that Jelena Vesić is an independent curator, cultural is, stimulation of participation in different cultural activist, writer, editor and lecturer who lives and 116 117 contents. The dramaturgies of the processes or works in Belgrade and abroad. She was co-editor of events of stipulation of artistic works that are the Prelom – Journal of Images and Politics (Belgrade, focus of this lecture will refer to the terrain of 2001–2009), a founding member of the independent operations of those who live at the bottom of the organization Prelom Collective (Belgrade, 2005–2010) “enterprise Culture” – independent writers, freelance and a founding member of the network of independent teachers, experimental curators, critically oriented organizations Other Scene (Belgrade, since 2005/6). visual artists, leftist intellectuals, alternative theatre She is also co-editor of Red Thread – Journal for social troupes, independent critics, essayists, columnists, theory, contemporary art and activism (Istanbul, etc. since 2009) and a member of the editorial board of Art Margins (MIT Press). Jelena Vesić’s research is dedicated to the politics of representation in art and visual culture, practices of self-organization and politicization of cultural work. Her curatorial practice often experiments with frameworks, methodologies, and contextual and collaborative aspects of art. Her recent curatorial projects include: Oktobar XXX: Exposition – Symposium – Performance, Cultural Centre Theatre, Pančevo 2012; Against Art: Goran Đorđević – Copies (1979–1985), Museum of Contemporary Art and City Gallery, Ljubljana-Belgrade, 2012/13; Lecture Performance, Museum of Contemporary Art and Koelnisher Kunstverein, Cologne-Belgrade, 2009/2010; Political Practices of (Post-) Yugoslav Art: RETROSPECTIVE 01, Museum 25th of May, Belgrade, 2009.
Jelena Vesić Administracija estetike ili podzemni tokovi ugovaranja Izložba kao skriptovani prostor: Načini proizvodnje i proizvodnja načina, 10-15. oktobar umetničkog posla – Između ljubavi i novca, između novca i ljubavi ... Kustoska škola pisanja o izložbi, urednica: Jelena Vesić / Administration of Aesthetics or Undercurrents of Negotiating Artistic Jobs – Between Love and Money, Between Money and Love..., lecture / predavanje; fotografija / photo by: Duško Jelen saša k erkoš Interactive presentation of research reasons (In the collaboration with the Design Incubator Nova Iskra) Interaktivna prezentacija razloga za istraživanje Interactive lecture and experimental workshop, (u saradnji sa Novom Iskrom) 1st and 2nd November 2013 Interaktivno predavanje i eksperimentalna Compassion in design? radionica, 1. i 2. Novembar 2013 Saosećanje u dizajnu? Since 2012, Saša Kerkoš has been dealing with the research of compassion trough different forms of 118 119 U okviru istraživanja o saosećanju, kojim se Saša experimental workshops and practices. She presented Kerkoš bavi od 2012, eksperimentalna radionica je her work at the World Design Capital 2012 (Finland), bila predstavljena u raznim formama i kroz različite as the TEDex talk experiment (Slovenia), the founded vežbe na više mesta: Svetskoj prestonici dizajna 2012 research project of non-verbal communication of u Finskoj, kao TEDex eksperimentalni razgovor u emotions in the multi-touch environment the Aalto Sloveniji, finansirani istaživački projekat neverbalne Media factory Helsinki as well as creative workshops vizualizacije emocija u multi-touch okruženju Aalto with homeless people in Portland (USA) and with the Media factory Helsinki i kao kreativna radionica children from the orphanages in Bali. predstavljena beskućnicima u Portlandu (SAD) i deci iz sirotišta na Baliju. The short hands-on experimental workshop aims to map the compassion as driving force behind Kratki hands-on eksperimentalne radionice ima za creative occupations and creative work-field. Short cilj da mapira saosećanje kao pokretačku snagu experimental exercises will take you on a journey to kreativnih zanimanja i stvaralačkog polja rada. experience and meet with your own understanding of Kratke eksperimentalne vežbe odvešće vas na put compassion in relation to your work, well-being and kroz iskustva i susrete sa sopstvenim shvatanjem life-style. saosećanja koji se odnosi na rad, blagostanje i način života. Saša Kerkoš is a multi-task graphic designer and illustrator, art and creative director and collaborations Saša Kerkoš je višestrana grafička dizajnerka, initiator, working on a diverse range of projects that ilustratorka, umetnička i kreativna direktorka, can improve creative and innovative ideas to build isto tako inicijatorka mnogih saradnji. Paralelno more tolerant sustainable and open environments. radi na raznim projektima, u okviru kojih se trudi She currently works between Ljubljana, Helsinki and da doprinese kreativnim i inovativnim idejama za Bali. She is an initiator of the Slovenian contemporary stvaranje tolerantnih, trajnih i otvorenih okruženja. illustration platform – Independent Biennial. She Živi i radi između Ljubljane, Helsinkija i Balija. works towards open knowledge exchange and Inicijatorka je platforme Slovenačke savremene collaboration. At the moment she is passionately ilustracije – Bijenale nezavisnih. Njen rad je usmeren researching emotions, compassion and empathy in na otvorenu razmenu znanja i saradnje. Trenutno visual communication. She is author of the visual pasionirano istražuje emocije, saosećanje i empatiju u identity and design of the 54th October Salon. vizuelnoj komunikaciji. Autorka je vizuelnog identiteta ovogodišnjeg Oktobarskog salona.
SAŠA KERKOŠ experimental workshops ilegalni b iskop organizuju projekcije, govore i pokreću diskusije o Films are selected and presented by: Marija Ratković/ among the audience and editors – from Magacin’s filmovima. Ovim želimo da uzdrmamo čvrstu granicu Danijela Dugandžić Živanović, Ana Vilenica/Dražen neighbours to film theoreticians. između urednika i publike, kao i da podstaknemo Crnomat, Jelena Petrović, Tanja Marković Teorija koja Hoda nespecijalističke diskurse o filmu. U publici kao i illegal_cinema was a concept started by artist među urednicima tako možete sresti najrazličitije During its realization, illegal_cinema has constantly and cultural worker Marta Popivoda in 2007 within ilegalni_bioskop, 21. i 28. oktobar, ljude, od komšija Magacina do teoretičara filma. been evolving and expanding its primary frame, so the Walking Theory (TkH – Teorija koja hoda) in 4. i 11. novembar 2013. that, under the influence of the audience/editors, collaboration with Other Scene (Druga scena) projekcije filmova i diskusije ilegalni_bioskop je koncipirala i pokrenula umetnica it generates new program lines and explores new initiative. The project became possible when TkH Programska linija RADNA ŽENA i kulturna radnica Marta Popivoda 2007. u okviru procedures and modes of using art and culture as a started working in the Magacin cultural center in 120 121 platforme TkH [Teorija koja Hoda], a u saradnji sa space for knowledge production. Kraljevica Marka Street, and screenings have been Inicirale: Marta Popivoda i Ana Vujanović inicijativom Druga scena. Projekat je postao moguć Thus, in collaboration with the 54th October Salon, organized every Monday at 7 p.m. ever since. During Koordinatorka: Olga Dimitrijević onog trenutka kada je TkH počela da radi u kulturnom and with support of the female fund Reconstruction, 2008 and 2009, Illegal Cinema had special editions Filmove odabrale i predstavile: Marija Ratković/ centru Magacin u Kraljevića Marka, i od tada se we are starting with a new program entitled Working and, as an artwork, had been realized within the Danijela Dugandžić Živanović, Ana Vilenica/Dražen projekcije organizuju svakog ponedeljka u 19h. Tokom Woman (discussions on screen representations), “No More Reality” exhibition by Jelena Vesić and Crnomat, Jelena Petrović, Tanja Marković 2008. i 2009. ilegalni_bioskop je imao specijalna which will take place during the next season. Claira Staebler in Istanbul, and “Revolutionary izdanja i, kao umetnički rad, realizovan je u okviru We hope that this program line will contribute to a Salon” by Ivana Bago and Antonija Majača in Zagreb. Tokom realizacije, ilegalni_bioskop se neprekidno izložbi “No More Reality” Jelene Vesić i Claire Staebler fresh reflection and re-affirmation of feminist ideas During 2010, a Parisian edition was initiated in Les razvija i proširuje prvobitni okvir, te pod uticajem u Istanbulu i “Salon revolucije” Ivane Bago i Antonije through the prism of leftist problems, which could laboratoires d’Aubervilliers and, in 2011, illegal cinema publike/urednika generiše različite programske linije i Majače u Zagrebu. Tokom 2010. pokrenuto je parisko become, as a unison, one of the most important tools in Bulegoa z/b in Bilbao started to operate as well. istražuje nove procedure i moduse upotrebe umetnosti izdanje u Les laboratoires d’Aubervilliers, a 2011. for critical reflection of our actual, transitional society i kulture kao prostora za produkciju znanja. počeo je sa radom i ilegalni_bioskop u Bulegoa z/b u and interventions in it. Olga Dimitrijević lives and works between Belgrade Tako saradnjom sa 54. Oktobarskim salonom a uz Bilbau. and Berlin. She graduated at the Dramaturgy podršku ženskog fonda Rekonstrukcija Teorija koja Olga Dimitrijević živi i radi između Beograda i illegal_cinema was conceived as an open department at Faculty of Dramatic Arts in Belgrade, Hoda započinje programsku liniju “Radna žena Berlina. Diplomirala je dramaturgiju na Fakultetu (self-)educational program of exchange and and defended Master thesis at Central European (diskusija ekranskih reprezentacija)”, koja će se dramskih umetnosti u Beogradu i odbranila contextualization of authors’, documentary, University, Budapest. Her theatre reviews were odvijati tokom predstojeće sezone. master iz rodnih studija na Centralnoevropskom activist, political, queer, anarchist, censored and published in magazines Vreme and Teatron. She is Nadamo se da će ova programska linija doprineti univerzitetu u Budimpešti. Pisala je pozorišne kritike other marginalized, and in the local context hardly a member of Belgrade Centre for Queer Studies, ponovnom promišljanju i reafirmaciji feminističkih za Teatron i Vreme. Uključena je u rad Centra za accessible, movies. The basic idea was to transfer occasionally lecturing on film and popular culture, and ideja kroz prizmu levičarskih problematika, koje kvir studije; povremeno drži predavanja iz oblasti the practice of sharing and discussing films amongst participating on international conferences. Several of ujedinjene mogu postati jedna od najvažnijih alatki za filma i popularne kulture i sporadično izlaže na friends and colleagues from private to public space, her plays were staged: Boarding School, The Folk`s kritičko promišljanje našeg aktuelnog, tranzicijskog međunarodnim konferencijama. Izvedene su njene as well as to create a new public space for exchanging Play and Workers Die Singing, that was awarded with društva i intervenciju u njega. drame Internat, Narodna drama i Radnici umiru discourses about and around films we generally did Sterijino pozorje prize for the best contemporary pevajući, za koju je 2012. godine nagrađena Sterijinom not have a chance to see in cinemas in Serbia. dramatic text in Serbia in 2012. ilegalni_bioskop je zamišljen kao otvoren (samo) nagradom za dramski tekst. illegal_cinema is open to the general public and obrazovni program razmene i kontekstualizacije anyone interested in watching movies, suggesting autorskih, dokumentarnih, aktivističkih, političkih, and organizing screenings, speeches and starting queer, anarhističkih, cenzurisanih i drugih iillegal c inema discussions about movies. With this, we want to marginalizovanih i u lokalnom kontekstu teško shake up the firm boundary between editors and dostupnih filmova. Osnovna ideja je bila da se praksa Walking Theory [TkH] the audience, as well as to inspire non-specialist deljenja i diskutovanja filmova među prijateljima i discourses about film. You can meet various people kolegama prenese iz privatnog u javni prostor, kao i da illegal_cinema, October 21st and 28th, se proizvede novi javni prostor za razmenu diskursa November 4th i 11th 2013 o i oko filmova koje obično nismo imali priliku da Film screenings and discussions gledamo u bioskopima u Srbiji. Program: WORKING WOMAN
ilegalni_bioskop je otvoren za najširu publiku i Initiated by Marta Popivoda and Ana Vujanović ILEGALNI BIOSKOP, 21. i 28. oktobar, 4. i 11. novembar; projekcije filova i diskusije Illegal Cinema on Mondays – film screenings and moderated discussions, 21. October -11. November sve zainteresovane da gledaju filmove, predlažu i Coordinator: Olga Dimitrijević serija v ođenja a series of w alks t hrough kroz i zložbu the e xhibition
Niko ne pripada tu više nego ti //otvorenO// NO ONE BELONGS HERE MORE THAN YOU / / kordinatorka: Marija Ratković opeN / / kroz izložbu vode: Vladimir Bjelčić, Olga A series of walks through the exhibition Dimitrjević, Tanja Marković, Marija Ratković Coordinator: Marija Ratković Walk through the exhibition with: Marija Ratković, 122 Serija vođenja NIKO NE PRIPADA TU VIŠE NEGO TI // Olga Dimitrijević, Vladimir Bjeličić, Tanja Marković 123 otvorenO// se odnosi na de/re konstrukciju koncepta and guests vodjenja i radikalno otvaranje izložbe Niko ne pripada tu više nego ti prema generalnoj publici. Serija A series of walks through the exhibition NOBODY vođenja kroz izložbu biće organizovana kao skup BELONGS HERE MORE THAN YOU / / opeN / / refers različitih fokusnih tačaka učesnika u procesima to the de-/re-construction of the guiding concept umetničkog delovanja, organizacije i produkcije. Tako and to the radical opening of the exhibition No One će na mestu vodiča, kroz izložbu publiku provesti Belongs Here More Than You to the general public. oni koji su na neki način bili deo konceptualizacije, This series will be organized as an assemblage of stvaranja i interpretacije koncepta NIKO NE PRIPADA the different focal points of the participants in the TU VIŠE NEGO TI. Svako otvoreno vođenje će imati processes of artistic engagement, organization and tematski okvir u kome će se kretati i time će nastati production. Instead of a guide, those who were a part izložba u izložbi, a izloženi materijal biće de- i re- of the conceptualization, creation and interpretation konstruisan, više puta prekomponovan i čitan svaki of the concept No One Belongs Here More Than You put kroz optiku koncepta konkretnog vođenja. Time will speak with the public about the exhibition. Every se pokreću pitanja veza između umetničkog delovanja open walk through will be thematically framed in such i izlaganja u različitim kontekstima i pred različitom way so as to produce ‘an exhibition in the exhibition’ publikom, takođe, pokreće se pitanje posredovanja de-/re-constructing, recomposing and close reading između umetničkog dela i publike, kao i pitanja njihove of the exposed material through the lens of the (inter)reakcije. Osnovna potreba iz koje je nastala ova concept of the specific walk through. This produces serija vođenja je da se preispita autonomija umetnosti the nexus of artistic engagement and exposure/ unutar društva, učini korak ka prevazilaženju exhibition in different contexts and to the different ekskluzivnosti umetnosti i da se izložba, shodno public, and at the same time opens the question of a svom nazivu NIKO NE PRIPADA TU VIŠE NEGO TI mediation between the art work and the public as well otvori prema publici na različite načine i u različitim as of their (inter)action. The reason of initiation of this oblicima. series of walk trough is to request an autonomy of art within the society, to move towards overcoming the Marija Ratković je teoretičarka umetnosti i web exclusivity of art and to open to the public in various dizajnerka. U teorijskom radu, bavi se politikama ways and forms according to its slogan: No One savremene umetnosti i arhitekture, filmom i Belongs Here More Than You. kinematografskim aspektima pejzaža. Sarađuje sa brojnim umetnicima i umetničkim kolektivima u zemlji Marija Ratković is an art theorist of art and a web i inostranstvu. Izlaže od 2006. godine. Jedna od designer. In her theoretical work, she deals with the osnivačica Inicijative za savremenu umetnost i teoriju i politics of contemporary art and architecture, film and novomedijske platforme AWOL. cinematic aspects of landscape. She collaborates with many artists and art collectives in the country and abroad. She has been exhibiting since 2006. She is fotografija / photo by: Duško Jelen one of the founders of the Initiative for Contemporary Art and Theory and the New Media Platform AWOL. 124 125
mjuzik s pot music s pot
Black Water and Her Daughter, Black Water and Her Daughter, Tijana T, Ma Faiza, DJane Ellem Tijana T, Ma Faiza, DJane Ellem and Irena Tomažin and Irena Tomažin black w ater and h er brojne žanrove EDM, kao brzi, melodični psy-trance, has emerged from the psychedelic trance music scene electro to cool minimal as well as ethnic, organic and daughter, t ijana t, progresivni dnevni gruvovi, prljavi electro, lagani into a genre-defying selector of the finest electronic harmonic global-inspired beats and blissfully enticing ma faiza minimal kao i etničke, organske i harmonične zvuke i music. Her varied, feminine sound encompasses chillout sets. očaravajuće chill-out setove. many different genres of EDM, from full-on melodic http://www.mafaiza.com www.mafaiza.com psy-trance, progressive daytime grooves, dirty 12. oktobar 2013.
Black Water and Her Daughter je tehno elektronski 12. October 2013. duo iz Sarajeva. Duo sarađuje od 2007, kada 126 127 je Andreja Dugandžić (vokal, tekstospisateljica) Black Water and Her Daughter is a techno nastupala sa STARKAMA, a Ilvana Dizdarević (Djane electronic duo from Sarajevo, Bosnia and Herzegovina. Elle.M - muzička produkcija), pratila njihove svirke The duo has been collaborating together since Black Water and Her Daughter sa živim di-džej setovima. Njih dve su udružile snage 2007 when Andreja Dugandžić (vocal, songwriter) u okviru BWAHD, koji je trenutno jedini takav ženski performed with STARKE and Ilvana Dizdarević (DJane muzički kolektiv u BiH. Uz mračne i minimalističke Ellem – music production) accompanied their gigs zvuke praćene autentičnim poetskim narativom, with live DJ sets. The two joined forces in BWaHD, živi nastupi BWaHD teku savršenom sinergijom currently the only such female music collaborative dve različite, ali potpuno komplementarne ženske in the country. Dark and minimal beats followed kreativne sile. with authentic poetical narrative, BWaHD live performances flow in perfect synergy of two different Tijana T je multi-talenat; živi u Beogradu, lokalno i yet complementary female forces. međunarodno priznata kao vokalistkinja, DJ-ka i TV voditeljka. Tijana ima decenijsku karijeru u pravljenju Tijana T is a multi-talent living in Belgrade, who is muzičkih TV emisija u Srbiji, zbog čega je postala locally and internationally recognized as a vocalist, uticajna figura na novoj srpskoj muzičkoj sceni. DJ and TV presenter. Tijana has a decade long career U periodu od 2003. do 2008, bila je spokeslady in making music TV shows in her home country poznatog Exit festival, takođe autorka i prezenterka Serbia during which she has established herself as Exit - TV emisija. Pored toga što je poznata kao an influential figure on the new Serbian music scene. intervjuerka i voditeljka među mnogim međunarodnim Between 2003. and 2008. she was also a spokeslady umetnicima i producentima elektronske muzike, Tijana for the famous Exit festival and was also an author ima paralelnu muzičku samostalnu karijeru kao DJ-ka and presenter of Exit-related TV shows. Besides i stalna vokalna saradnica za mnoge važne muzičke being recognized as an interviewer and a presenter komade Abe Duque. Sa ovim njujorškim producentom amongst many international artist and electronic obišla je svet i stekla više priznanja. Njen glas može music producers, Tijana has a parallel music career da se čuje na nekoliko EP-ja i albuma, a njihov of her own, she is a DJ and a regular vocal contributor spektakularni šou uživo je gostovao na mnogim for Abe Duque’s much respected pieces of music. važnim događajima u svetu. With this New York based producer she has toured the world and gained yet more recognition. Her vocals Ma Faiza jedna je od najvažnijih predstavnica can be heard on several EPs and albums, and their elektronske muzike u Indiji. Rođena u Indiji, odrasla spectacular live show has visited some of the best u Velikoj Britaniji, Ma Faiza donosi nešto potpuno venues in the world. DJane Tijana T DJane Ma Faiza jedinstveno na indijsku scenu elektronske plesne muzike. Postala je globalna umetnica, producentkinja, Ma Faiza is The Mother Of Electronica in India. Born spisateljica i jedna od najuticajnijih svetskih di-džejki in Africa, raised in Britain, Ma Faiza brings something
Indije. Pojavila se iz psihodelične trans muzičke scene wholly unique to the Indian EDM scene. She has MJUZIK SPOT / MUSIC SPOT i postala žanrovska selektorka najbolje elektronske evolved into a global artist, a producer, a writer and muzike. Njen raznovrsni, ženstveni zvuk obuhvata one of India’s most successful international DJs. She irena t omažin na mnogim radionicama u inostranstvu. Stipendiju BiH), Interzone Festival (Novi Sad, SRB) and Grotowski collaborates with numerous choreographers and za DanceWeb u Beču osvojila je 2004. godine. Institute (Wroclaw, PL). Supported by the European theater directors in Slovenia and abroad. She acquired Učestvovala je u programu „Atelje na Institutu Cultural Foundation. most of her dancing experience with the Intact Zvučni performans, 30. Oktobar 2013 Grotovski”, u Vroclavu 2007. godine. dance studio, the Ljubljana Dance Theatre and the Ukus tišine Irena Tomažin is a dancer, choreographer and educational programs Laboratory, Agon and Emanat, singer/ vocal performer that performs mostlyin as well as taking part in numerous workshops in Irena Tomažin se kroz medij glasa i tela bavi temom Sound performance, October 30th 2013 the dance-theater plays and on the concerts. She Slovenia and abroad, being part of a DanceWeb in tradicije i statusom glasa i slika koje glas kao medij The Taste of Silence is author of seven solo performances and she 2004 and the Atelier/Grotowsky Institute in 2007. 128 usne istorije prenosi iz generacije u generaciju. Na 129 neki način, više pripadamo prošlosti i na prvi pogled In her newest project Irena Tomažin once again uses već obrađenoj istoriji, nego sadašnjosti koja je ‘tu i the medium of voice and body as her tool(s) to tackle sad’. Moguća obrada tradicije samo pokazuje njenu the themes of tradition, heritage and the status of tihu, neupadljivu i kontinuranu prisutnost. Glasovi voice(s) and images, which voice as a medium of oral kojima govorimo su melodije prethodnih govornica tradition is carrying on, from one generation to the i govornika i njihovih reči. Sadašnjost nam, s druge next. strane, sa prisutnim zvukovima nanovo upisuje u telo “In a way, we belong more to the past and to the druge glasove. Njima ocrtavamo govor koji je naša tradition that - at first glance - seems to have faded usmena tradicija budućnosti. away already; it also seems that we don’t belong to the present as much, the present that is supposed to Paradoksalna petlja vremena je možda uhvaćena u be “the here and now.” But maybe the oral tradition trajanju glasa sa samo jednim izdisajem. U prvom delu that seems to have faded away with time, is only a procesa, Irena Tomažin, Sabina Đogić i Andrej Kocan display of its quiet, unobtrusive and ever-continuing snimili su 5 susreta sa stvaraocima i stvarateljkama presence. The voices, with which we speak, are the narodne muzike: Ljobom Jenče, Bogdanom Herman i melodies of past orators. The present on the other Boštjanom Naratom (Slovenija), Natalkom Polovynka hand – with its ubiquitous sounds – inscribes itself (Ukrajina), Svetlanom Spajić (Srbija). Snimci su onto a body as a set of very different voices, with bogat i inspirativni materijal iz koga proizlazi proces which we delineate the voices that are only to become stvaranja performansa. (Irena Tomažin) (our) future oral traditions. Maybe this paradoxical time-loop can sometimes be caught in the duration of Performas je deo projekta Sa-glasje koji je usmeren the voice within a single exhalation.” na prepletanje tradicije narodnog pevanja i znanja o tome sa savremenim umetničkim praksama. U In the first part of the process (2011), Irena Tomažin, produkciji Zavoda EMANAT Ljubljana i u saradnji Sabina Đogić and Andrej Kocan filmed five encounters sa Udruženjem za kulturu i umetnost CRVENA iz with selected interpretors / authors and performers Sarajeva, Festivalom Interzone iz Novog Sada i of folk music: Ljoba Jenče, Hermana Bogdan and Institutom Grotovski iz Vroclava, projekat je podržan Boštjan Narat (Slovenia), Natalka Polovynka (Ukraine) od strane Evropske kulturne fondacije. and Svetlana Spajić (Serbia). Their footage is now abundantly rich and inspirational material from which Irena Tomažin je plesačica, koreografkinja i the author will derive further processes of creating pevačica/vokalna performerka koja nastupa uglavnom the final performance. IRENA TOMAŽIN u plesnim-pozorišnim performansima i na koncertima. fotografija / photo by: Nada Žgank Autorka je sedam samostalnih performansa i radila je The performance is a part of the project Co-voicing sa mnogim koreografima, i pozorišnim rediteljima u focused on intertwining of the tradition of folk singing Sloveniji i inostranstvu. Obrazovanje iz plesa i pokreta and its knowledge with more contemporary artistic stekla je u studiju „Intakt” u Ljubljani, Plesnom practices. Produced by Emanat, the Institute from pozorištu Ljubljane, u edukativnim programima grupe Ljubljana (Slovenia) in collaboration with partners the „En Knal u Laboratoriji i Agonu i u Emanatu, kao i Association for Culture and Art CRVENA (Sarajevo, 130 131
upitnik, perpetuum questionnaire, perpetuum mobile, č itaonica, mobile, r eading r oom, digitalna r erna, digital o ven, a udio/video audio/video k abina booth upitnik perpetuum Hofner (Beč), Jovana Komnenić (Belgrade), Evelin Stermitz (Graz/ čitaonica, reading r oom, (Pančevo), Andreja Kulunčić Ljubljana), Marko Tadić (Zagreb), mobile (Subotica/Zagreb), Nikoleta Nataša Teofilović (Pančevo), digitalna digital o ven, Kontinuirani rad na sakupljanju Marković (Cetinje/Beograd), Milica Tomić (Belgrade), Sarah feminističkog znanja, iskustava, rerna, a udio/ audio/video Perpetuum mobile je kompilacija Nela Milić (London), Dragana Vanagt (Bruges/Brussels), ideja i uverenje koje se odnosi na video k abina booth video radova i drugih digitalnih Mladenović (Frankenberg/ Dragan Vojvodić (Sarajevo/Novi feminističke umetničke prakse u umetničkih formata (fotografija, Pančevo), Tanja Ostojić (Berlin), Sad) Ana Baraga (Ljubljana), (post)jugoslovenskom prostoru Čitaonica je mesto za pisanje, The Reading Room is a space stripova, tekstova). PM vremenom Armina Pilav (Venecija/Sarajevo), Dunja Blažević (Sarajevo), Vanja i šire, razlog je zbog koga su čitanje knjiga i katalogâ, razgovore for blogging, reading books and se dopunjuje i uvećava i radi po Alenka Spacal (Ljubljana). Bučan (Nova Gorica/Amsterdam), 132 Red Min(e)d napravile upitnik sa umetnicama/cima, prezentacije catalogues, talks with artists, 133 principu stručnih i prijateljskih Ana Čigon (Ljubljana), Lina za umetnice/ke, za sve one koji i diskusije. presentations and discussions. predloga i stalno otvorenog javnog Dokuzović (Zagreb/Vienna), se bave istraživanjima, kulturne perpetuum poziva. Andreja Dugandžić (Sarajevo), radnice/radnike, kustoskinje/ Digitalna rerna je mesto za The Digital Oven is a space for mobile Gordana Anđelić Galić (Sarajevo), digitalizaciju i postavljanje digitalization and uploading of the kustose, aktivistkinje i aktiviste, ali Živa arhiva video radova, Marina Gržinić and Aina materijala nastalih tokom material done during the exhibition i druge koji imaju znanje, sećanje dokumentacije ili tekstova: Nika The Perpetuum Mobile is a Šmid (Ljubljana/Vienna), Ana trajanja izložbe, na licu mesta on the spot (photos, audio and i/ili su stručni u ovoj oblasti. Autor (Maribor/Ljubljana/Beč), compilation of video works as Hoffner (Vienna), Jelena Jureša (fotografija, audio, video i druge video files on the spot). Upitnik možete da popunite na Lana Čmajčanin (Sarajevo), well as some other digitized art (Belgrade), Jovana Komnenić dokumentacije). engleskom ili bilo kom drugom Nataša Dejvis (London), Fljaka formats (photos, comics, texts). It (Pančevo), Andreja Kulunčić The Audio/Video Booth is a jeziku, na: http://bringintakeout. Haljiti (Priština/Minhen/Beč), is constantly growing and operates (Subotica/Zagreb), Nikoleta Audio/Video Kabina je prostor space where you can watch wordpress.com/questionnaire/ Nela Hasanbegović (Sarajevo), on the basis of experts’ or Marković (Cetinje/Belgrade), na kojem možete da odgledate/ live artist talks, interviews, Ana Hušman (Zagreb), Jelena friends’ suggestion or continuous Nela Milić (London), Dragana odslušate snimke razgovora, izjava presentation and debate Jureša (Beograd), Adela Jušić questionnaire open-call. Mladenović (Frankenberg/ i diskusija sa prethodnih izdanja recordings from previous LA (Sarajevo), Emina Kujundžić Pančevo), Tanja Ostojić (Berlin), LA (Living Archive - Žive arhive). editions. As part of the LA’s (Living (Sarajevo), Monika Ponjavić Living archive of video works Armina Pilav (Venice/Sarajevo), Archive) continuous endeavour i Marina Radulj (Banja Luka), and photo, video, PDF and Alenka Spacal (Ljubljana). to collect feminist knowledge, Renata Poljak (Split/Pariz), text documentation by: Nika experiences, ideas and beliefs in Nada Prlja (Sarajevo/Skopje/ Autor (Ljubljana/Vienna), Lana regard to feminist art practices London), Vahida Ramujkić Čmajčanin (Sarajevo), Natasha in the (post)Yugoslav space and (Beograd) i Bojana Jelenić Davis (London), Flaka Haliti beyond, Red Min(e)d developed (Beograd) i Dioniz Eskorze (Prishtina/Munich/Vienna), a Questionnaire to be filled out (Tortoza/Barselona), Lala Raščić Nela Hasanbegović (Sarajevo), by artists, academics, cultural (Sarjevo/Nju Orleans), Dina Ana Hušman (Zagreb), Jelena workers, curators, activists Rončević (Zagreb), Tina Smrekar Jureša (Belgrade), Adela Jušić and all who have knowledge, (Ljubljana), Ivana Smiljanić (Sarajevo), Emina Kujundžić reminiscences and/or references (Beograd), Evelin Štermic (Grac/ (Sarajevo), Monika Ponjavić in the field. You are invited to fill Ljubljana), Marko Tadić (Zagreb), and Marina Radulj (Banja Luka), the Questionnaire in English or Nataša Teofilović (Pančevo), Renata Poljak (Split/Paris), any other language, at this site: Milica Tomić (Beograd), Sara Nada Prlja (Sarajevo/Skopje/ http://bringintakeout.wordpress. Fanagt (Briž/Brisel), Dragan London), Vahida Ramujkić com/questionnaire/ Vojvodić (Sarajevo/Novi Sad), (Belgrade) and Bojana Jelenić Ana Baraga (Ljubljana), Dunja (Belgrade) and Dionis Escorsa Blažević (Sarajevo), Vanja Bučan (Tortosa/Barcelona), Lala Raščić (Nova Gorica/Amsterdam), Ana (Sarajevo/New Orleans), Dina Čigon (Ljubljana), Lina Dokuzović Rončević (Zagreb), Tina Smrekar (Zagreb/Beč), Andreja Dugandžić (Ljubljana), Ivana Smiljanić (Sarajevo), Gordana Anđelić
Galić (Sarajevo), Marina Gržinić fotografija / photo by: Duško Jelen i Aina Šmid (Ljubljana/Beč), Ana 134 135
program programme Program četvrtak, 10 – 15. oktobar nedelja, 13. oktobar subota, 19. oktobar utorak, 29. oktobar 7 – 13. novembar SR 54. Oktobarskog Salona Izložba kao skriptovani prostor: 13 – 16 sati - Artedu radionica, za 13 sati – vođenje kroz izložbu 18 sati – predstavljanje kataloga SLOBODNA ZONA SR načini proizvodnje i proizvodnja srednjoškolce/ke 13 – 16 sati - Artedu radionica, za 53. Oktobarskog salona... Tim 54. Oktobarskog salona niko ne pripada tu načina, 18 – 20 sati - Niko ne pripada tu srednjoškolce/ke učestvuju: Branislav Dimitrijević, preporučuje da pogledate: više nego t i Kustoska škola koju vodi Jelena više nego ti, forumska diskusija 16:30 – 17:30 sati - KCB radionica jedan od kustosa, ГУД ЛАЈФ, Bijeg, 2013, režija: Srđan Keca, Vesić sa umetničkim kolektivima h.arta za decu i roditelje, deca uzrasta Andrej Dolinka, autor vizuelnog 23‘ 11. oktobar – 17. novembar Zepter Expo, bivša RK Kluz, (Marija Krista, Anka Gjemant, od 6 do 10 godina sa roditeljima identiteta, Svebor Midžić, urednik i Mama Europa, 2013, režija: Petra 2013, Beograd Masarikova 4 Rodika Taš), ff (Antje Majevski, Zepter Expo, bivša RK Kluz, Mia David, v.d. direktorka KCB Seliskar, 90‘ Zepter Expo, bivša RK Kluz, Broj učesnica i učesnika je Šarlot Kulinan), a7.außeneinsatz Masarikova 4 Zepter Expo, bivša RK Kluz, Our Children/ A perdre la 136 137 Masarikova 4 ograničen. Biografiju i motivaciono (Margret Šic* i Greta Oajsel) Masarikova 4 raison, 2012, režija: Joakim Lafos, www.oktobarskisalon.org pismo poslati na i umetnicama Guzde Ilkin i nedelja, 20. oktobar sreda, 30. oktobar 111‘ - [email protected] Margaretom Kern (moderatorka) 13 – 16 sati – Artedu radionica, 20.30 sati – Okus tišine, Irena Salma, 2013, režija: Kim 23 – 07 sati (14/10) – Muzej za srednjoškolce/ke Tomažin, predstava Longinoto, 91‘ septembar petak, 11. oktobar ne-participacije: patrijarhalni 17 – 18 sati – KCB klub na Jugoslovensko dramsko pozorište, The Crash Reel, 2013, režija: Lusi četvrtak, 12. septembar 19 sati – otvaranje 54. sat* – forumska diskusija Oktobarskom salonu Studio JDP, Kralja Milana 50 Valker, 108‘ 19 sati – 54. Oktobarski salon: Oktobarskog salona Karen Mirza i Rejčel Anderson Zepter Expo, bivša RK Kluz, četvrtak, 31. oktobar Dvorana Kulturnog centra Niko ne pripada tu više nego 20 sati - Aleksis Ohara, Broj učesnica i učesnika je Masarikova 4 18 sati – vođenje kroz izložbu Beograda, Kolarčeva 6 ti, u okviru U3, VII trijenala Odbrambeni mehanizmi za ograničen. Prijavljivanje na Zepter Expo, bivša RK Kluz, Dom Omladine, Makedonska 22 savremene umetnosti u Ljubljani ugrožene vrste*, performans [email protected] ponedeljak, 21. oktobar Masarikova 4 satnica projekcija na učesnice: Ana Čigon, Jasmina Zepter Expo, bivša RK Kluz, Zepter Expo, bivša RK Kluz, 19 sati – Ilegalni bioskop www.freezonebelgrade.org Cibic, Nataša Petrešin Bašelez, Masarikova 4 Masarikova 4 ponedeljkom – projekcije filmova Red Min(e)d 21.30 sati – Žurka otvaranja i diskusije u saradnji sa TkH novembar četvrtak, 7. novembar Muzej savremene umetnosti POP-UP, Kulturni centar Beograda, ponedeljak, 14. oktobar (Teorija koja hoda) 18 sati – vođenje kroz izložbu Metelkova (MSUM), Ljubljana Trg Republike 5 16 – 20 sati – Nama (ne) treba urednica: Olga Dimitrijević subota, 2. novembar Zepter Expo, bivša RK Kluz, obrazovanje*, kustoska škola o Magacin u Kraljevića Marka 4, 13 sati – vođenje kroz izložbu Masarikova 4 subota, 12. oktobar eksperimentalnom umetničkom Beograd 16 – 18 sati – Saosećajnost oktobar 13 – 16 sati - KCB tim: obrazovanju koju vode članice u dizajnu? eksperimentalna subota, 9. novembar istraživanje Oktobarskog salona, kolektiva a7.außeneinsatz četvrtak, 24. oktobar radionica, koju vodi Saša Kerkoš 13 sati – vođenje kroz izložbu subota, 5. oktobar program za srednjoškolce/ke i Broj učesnica i učesnika je 18 sati – vođenje kroz izložbu Prijavljivanje do 28. oktobra. Zepter Expo, bivša RK Kluz, 15 –19 sati - Živi logor smrti, studente/kinje ograničen. Biografiju i motivaciono Zepter Expo, bivša RK Kluz, Otvoreno za sve. Potvrdu poslati Masarikova 4 javna diskusija u saradnji 15 – 18 sati – kroz izložbu vode* pismo poslati na Masarikova 4 na [email protected] GOSTIkulacije*, izložba sa Centrom za istraživanje kustoskinje umetnice i umetnici [email protected] Zepter Expo, bivša RK Kluz, Margarete Kern u saradnji sa arhitekture, Univerziteta Goldsmit 54. Oktobarskog salona 20 – 21 sati – forum: subota, 26. oktobar Masarikova 4 Balkanet e.V., Galerijom Kullukcu, u Londonu, Grupom Spomenik i 19 sati – Hito Štajerl, Sanjala Administracija estetike ili 13 sati – vođenje kroz izložbu Polycity i Red Min(e)d projektom Četiri lica Omarske sam: politika u doba masovne podzemni tokovi ugovaranja Zepter Expo, bivša RK Kluz, ponedeljak, 4. novembar 20 sati – otvaranje izložbe učestvuju: Ejal Vajcman, Robert umetničke produkcije*, umetničkog posla - Između Masarikova 4 19 sati – Ilegalni bioskop i razgovor sa Margaretom Kern, Jan van Pelt, Kerolajn Stardi Kols, predavanje/performans ljubavi i novca, između novca i ponedeljkom – projekcije filmova Nanom Hajdenrajh, Natali Bajer Suzan Šupli, Srđan Hercigonja, 20 sati – Slaven Tolj, Ja sam ljubavi ...*, predavanje ponedeljak, 28. oktobar i diskusije u saradnji sa TkH i grupom Red Min(e)d Milica Tomić, Branimir Stojanović, opasan, ubijte me pred očima Jelene Vesić 19 sati – Ilegalni bioskop (Teorija koja hoda) Galerija Kullukcu, Schillerstr. Jelena Petrović i Srđan Jovanović moje dece, performans Zepter Expo, bivša RK Kluz, ponedeljkom – projekcije filmova urednica: Olga Dimitrijević 23/ 3, Minhen, Nemačka Wiess Zepter Expo, bivša RK Kluz, Masarikova 4 i diskusije u saradnji sa TkH Magacin u Kraljevića Marka 4, Auto kuća Rade Končar, hala za Masarikova 4 (Teorija koja hoda) Beograd nedelja, 10. novembar teretni pogon, Zemunski put 3, 23 – 05 sati - Black Water and četvrtak, 17. oktobar urednica: Olga Dimitrijević 19 sati – predstavljanje (bivši Nemački paviljon, Staro Her Daughter i didžejka: Ma 18 sati – vođenje kroz izložbu Magacin u Kraljevića Marka 4, inicijative radionice sa Sajmište) Fajza, Tijana T, Ellem Zepter Expo, bivša RK Kluz, Beograd migrantkinjama i grupno KC Drugstore, Bulevar Vojvode Masarikova 4 čitanje arhive u okviru izložbe Bojovića 4 Margarete Kern* izložbe Programme of Former German Pavillion at the Zepter Expo, Former Department SR Galerija Kullukcu, Šilerštrase 54th October Salon Old Fairground in Belgrade, (today Store KLUZ, Masarikova 4 ENG u ulturnom 23/ 3, Minhen, Nemačka k a car facility owned by Rade 11 p.m. – 5 a.m. - Black Water centru b eograda ponedeljak, 11. novembar no one belongs here Končar company), Zemunski put 3 and Her Daughter, DJane Ma 19 sati – Ilegalni bioskop Faiza, DJane Tijana T and DJane more than y ou ponedeljkom – projekcije filmova 20. septembar – 12. oktobar Thursday, October 10 – Tuesday, Ellem i diskusije u saradnji sa TkH Sve četiri na pod / (Duboko) October 11th – October 15 KC Drugstore, Bulevar Vojvode (Teorija koja hoda) ispod bas linije November 17th 2013, The Exhibition As Scripted Bojovića 4 urednica: Olga Dimitrijević umetnice: Lisa Lunila, Fani Nimi Belgrade Space: The Modes of Production 138 139 Magacin u Kraljevića Marka 4, Junkola, Pilvi Takala Zepter Expo, Former and The Production of Modes* Sunday, October 13 Beograd kustos: Mika Hanula, jedan od Department Store KLUZ, Curatorial School led by Jelena 1 - 4 p.m. - Artedu workshop: kustosa 53. Oktobarskog salona, Masarikova 4 Vesić October salon, High School četvrtak, 14. novembar www.oktobarskisalon.org Zepter Expo, Former Department Students Workshop 18 sati – vođenje kroz izložbu Galerija PODROOM, Trg - Store KLUZ, Masarikova 4 6 p.m. – 8 p.m. - No One Belongs 19 sati – Alma Suljević, Bosančica Republike 5 Number of participants is limited. Here More Than You*, forum (žensko pismo), performans september Apply with short bio/interests to discussion with collectives: Zepter Expo, bivša RK Kluz, 25. septembar – 12. oktobar [email protected] h.arta (Maria Crista, Anca Masarikova 4 Demokratije Gyemant, Rodica Tache), ff (Antje Thursday, September 12th Artur Žmijevski, dobitnik Nagrade Majewski, Charlotte Cullinan), 7 p.m. – 54th October Salon: No Friday, October 11th Kulturnog centra Beograda na 52. 7 p.m. - a7.außeneinsatz (Margret Schütz, petak, 15. novembar One Belongs Here More Than Opening of the 54th 19 sati – Lala Raščić, Oktobarskom salonu Greta Hoheisel), and artists Prokleta You, at the U3, the 7th Triennial of October Salon Likovna galerija, Knez brana*, performans Contemporary Art in Slovenia 8 p.m. - Coping Mechanisms Gözde Ilkin and Margareta Kern Mihailova 6 Zepter Expo, bivša RK Kluz, Participants of the debate are Ana for Endangered Species*, (moderator) Masarikova 4 Čigon, Jasmina Cibic, Red Min(e)d performance by Alexis O’Hara 11 p.m. – 7 a.m. – Museum 18. oktobar – 9. novembar and the public. Zepter Expo, Former Department of Non Participation: The Kolekcija 3: U potrazi za... subota, 16. novembar MSMU, Museum of Contemporary Store KLUZ, Masarikova 4 Patriarchal Clock – forum 13 sati – vođenje kroz izložbu Gordana Anđelić Galić i Darinka 9.30 p.m. - Opening party Pop-up, discussion with Karen Mirza and Art Metelkova 17:30 – 18:30 sati - KCB tim Pop Mitić Cultural Center of Belgrade, Trg Rachel Anderson vas vodi kroz Oktobarski salon, Iz Kolekcije Oktobarskog salona Republike 5 Number of participants is limited. KCB tim Likovna galerija, Knez october Check in at (srednjoškolci/ke i studenti/ Mihailova 6 Saturday, October 12 [email protected] kinje) organizuje vođenje za svoje radno vreme galerija u Kulturnom 1 – 4 p.m. - Saturday, October 5th CCB team: exploring vršnjake (i ostale zainteresovane) centru Beograda: svaki dan od 12 High 3 p.m. – 7 p.m. - Living Death the October salon, Monday, October 14 18:30 – 19:30 sati - do 20 sati, nedeljom zatvoreno School and University Students 4 p.m. – 8 p.m. – Artedu Camp, Public discussion in We (Don’t) Prijavljivanje radionica - šta smo uradili?, collaboration with the Forensic Programme Need (No) Education*, curatorial organizovanih poseta na predstavljanje rezultata Architecture, Goldsmiths, 3 p.m. – 6 p.m. – Exhibition school by a7.außeneinsatz on [email protected] 19 sati – Lala Raščić, Put u kutiji, University of London, the walk-through with artists and experimental art education performans Monument Group and the Four curators Number of participants is limited. Zepter Expo, bivša RK Kluz, Faces of Omarska project 7 p.m. – Hito Steyerl, I Dreamed Apply by October 5 with short Masarikova 4 Participants: Eyal Weizman, Robert a Dream: Politics in the Age of bio/interests to salonoktobarski@ Jan van Pelt, Caroline Sturdy Colls, Mass Art Production, lecture gmail.com nedelja, 17. novembar Susan Schuppli, Srđan Hercigonja, performance 8 p.m. – 9.p.m. – Administration 19 sati – Lala Raščić, Bilo koji Milica Tomić, Branimir Stojanović, 8 p.m. – Slaven Tolj, I’m of Aesthetics or Undercurrents objekat, performans i zatvaranje Jelena Petrović Dangerous, Kill Me In Front of Negotiating Artistic Jobs 54. Oktobarskog salona of My Children’s Eyes, – Between Love and Money, Zepter Expo, bivša RK Kluz, performance* Between Money and Love...*, Masarikova 4 forum lecture by Jelena Vesić Saturday, October 26 november Thursday, November 7 Thursday, November 14 exhibitions ENG Zepter Expo, Former Department 1 p.m. – Walk-through the 6 p.m. – Walk-through the 6 p.m. – Walk-through the ENG in cb Store KLUZ, Masarikova 4 exhibition exhibition exhibition c Saturday, November 2 Thursday, October 17 Zepter Expo, Former Department Zepter Expo, Former Department Zepter Expo, Former Department – additional programme of the 1 p.m. – Walk-through the 6 p.m. – Walk-through the Store KLUZ, Masarikova 4 Store KLUZ, Masarikova 4 Store KLUZ, Masarikova 4 54th October Salon exhibition exhibition 7 p.m. – Alma Suljević, Bosančica 4 - 6 p.m. – Compassion Zepter Expo, Former Department Monday, October 28th Saturday, November 9 (Women’s writing), performance September 20 – October 12 in design?* (experimental Store KLUZ, Masarikova 4 7 p.m. – Illegal Cinema on 1 p.m. – Walk-through the Zepter Expo, Former Department Four to the floor / (Far) Below workshop), by Saša Kerkoš, Apply Mondays – film screenings exhibition Store KLUZ, Masarikova 4 the Bass-line 140 by October 28 with 141 Saturday, October 19 and moderated discussions in Zepter Expo, Former Department Artists: Lisa Lounila, Fani Niemi sending email to 1 p.m. – Walk-through the collaboration with Illegal cinema, Store KLUZ, Masarikova 4 Friday, November 15 Junkola, Pilvi Takala [email protected] exhibition project of the TkH (Walking GUESTures | GOSTIkulacije, 7 p.m. – Lala Raščić, The Damned Curator: Mika Hannula, one of the Open to all. 1 - 4 p.m. - Artedu workshop: Theory) platform exhibition by Margareta Kern Dam*, performance curators of the 53th October salon Zepter Expo, Former Department October salon, high school Edited by Olga Dimitrijević in collaboration with Galerie Zepter Expo, Former Department Podroom Gallery, 5 Trg Republike Store KLUZ, Masarikova 4 students’ workshop Magacin, Kraljevića Marka 4 Kullukcu, Red Min(e)d, Balkanet Store KLUZ, Masarikova 4 September 25 – October 12 4.30 - 5.30 p.m. - CCB workshop e.V., Polycity Democracies, video instalation Monday, November 4 for children and adults, Tuesday, October 29 8 p.m – Opening of the Saturday, November 16 Artur Zmijewski, winner of the CCB 7 p.m. – Illegal Cinema on (age 6-10) 6 p.m. – presentation of 53rd exhibition and opening 1 p.m. – Walk-through the Award at the 52th October Salon Mondays – film screenings Zepter Expo, Former Department October salon catalogue discussion* with artist Margareta exhibition Art Gallery, 6 Trg Republike and moderated discussions in Store KLUZ, Masarikova 4 Participants: Branislav Dimitrijević, Kern, theoreticians and curators 5.30 – 6.30 p.m. - CCB team collaboration with Illegal cinema, one of the curators of the 53rd Nanna Heidenreich and Natalie walks you through the October October 18 – November 9 project of the TkH (Walking Sunday, October 20 October Salon GOOD LIFE, Andrej Bayer, the Red Min(e)d and the salon, CCB team (high school and Collection 3: Looking for... Theory) platform 1 - 4 p.m. - Artedu workshop: Dolinka, author of visual identity public university students) organises Artists: Gordana Anđelić Galić and Edited by Olga Dimitrijević October salon, high school of the 53rd October Salon, Svebor Galerie Kullukcu, Schillerstr. guided tours for their peers (and Darinka Pop Mitić Magacin, Kraljevića Marka 4 students’ workshop Midžić, editor i Mia David, acting 23/ 3., Munich other interested parties) From the October Salon art 5 - 6 p.m. - CCB Club at the director of CCB 6.30 – 7.30 p.m. - Artedu collection November 7-13 October salon Zepter Expo, Former Department Sunday, November 10 workshop – what Artedu have * working hours of Cultural center FREE ZONE film festival Zepter Expo, Former Department Store KLUZ, Masarikova 4 7 p.m. - Presentation of the we been doing? Presentation of of Belgrade: every day from 12 - 54th October Salon team Store KLUZ, Masarikova 4 workshop with migrant women Artedu workshop results 8pm, closed on Sundays recommends: Wednesday, October 30 (initiatives) and Collective 7 p.m. – Lala Raščić, Travel in a Bijeg, 2013, director: Srđan Keca, Monday, October 21 8.30 p.m. – The Taste of Silence, reading from the archive* Box, performance Registration for group visits at 23‘ 7 p.m. – Illegal Cinema on performance by Irena Tomažin Galerie Kullukcu, Schillerstr. Zepter Expo, Former Department [email protected] Mama Europa, 2013, director: Mondays – film screenings Yugoslav Drama Theatre, Studio 23/ 3., Munich Store KLUZ, Masarikova 4 Petra Seliskar, 90‘ and moderated discussions in Stage, Kralja Milana 50 Our Children/ A perdre la collaboration with Illegal cinema, Monday, November 11 Sunday, November 17 raison, 2012, director: Joakim project of the TkH (Walking Thursday, October 31 7 p.m. – Illegal Cinema on 7 p.m. – Lala Raščić, Whatever Lafos, 111‘ Theory) platform 6 p.m. – Walk-through the Mondays – film screenings the Object, performance and Salma, 2013, director: Kim Edited by Olga Dimitrijević exhibition and moderated discussions in closing of the 54th October Salon Longinoto, 91‘ Magacin, Kraljevića Marka 4 Zepter Expo, Former Department collaboration with Illegal cinema, Zepter Expo, Former Department The Crash Reel, 2013, director:: Store KLUZ, Masarikova 4 project of the TkH (Walking Store KLUZ, Masarikova 4 Lusi Valker, 108‘ Thursday, October 24th Theory) platform CCB Movie Theatre, Kolarčeva 6 1 p.m. – Walk-through the Edited by Olga Dimitrijević Dom Omladine, Makedonska 22 exhibition Magacin, Kraljevića Marka 4 *schedule available on www. Zepter Expo, Former Department freezonebelgrade.org/ Store KLUZ, Masarikova 4 142 143
osnivač i pokrovitelj organizator founder and patron organizer
uz podršku support 144 Hvala Marta Popivoda Aleksandar Timofejev Thanks to Ljilja Prokić Sladjana Tomić Danijela Purešević Pavle Tuović Violeta Anđelković Igor Radivojević Susie Vasović Bohse Ivana Antić Vesna Radosaljević Borut Vild Sanja Arsić Marija Ratković Dejan Vučetić Natalie Bayer Dejan Sretenović Tamara Vučković Manojlović Lerato Bereng Snežana Stojakov Jelena Zeković Bivši bar Beograd Nikola Stošić Madlena Zepter Ivan Bevc Irina Subotić Katarina Živanović Luka Božović Srđan Šaper Ana Čigon Vladimir Šćepanović umetnicama/ima, saradnicama/ima, Vladan Čkrkić Nikola Šuica prijateljicama/ima… Robert Čoban Dimitrije Tadić artists, partners and collaborators, friends... Jasmina Čubrilo Aleksandra Ćuk Vladimir Dekić Branislav Dimitrijević Olga Dimitrijević Christina Eder Christiane Erharter Galerija ArtSümer, Istanbul Galerija Stevenson Johannesburg Goldsmiths Univerzitet/Forenzička arhitektura Nanna Heidenreich Jelena Glišić Jelena Jakovljević Olga Jevrić Dragan Jovićević Matic Horvat Nikolaus Keller Karen Klauke Sonja Kovačev Siniša Krajčinović Vjeko Kramer Milica Lalić Marko Lulić Tanja Marković Žaklina Marković Ana Martinoli Andrija Milošević Dr Matthias Müller-Wieferig Muzej savremene umetnosti Metelkova, Ljubljana Dušan Otašević Filip Pajović Dragana Palavestra Gordan Paunović Natasa Petrešin Bachelez Rajko Petrović