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REMONT ART FILES, # 1 SADRŽAJ CONTENT 04 REMONT ART FILES 05 REMONT ART FILES

06 Simptomi srpske umetničke 10 Symptoms of Serbian Art Scene posle dvehiljadite Scene After Year 2000 Ješa Denegri Ješa Denegri

14 ПОП Art Živka Grozdanića 17 POP Art by Živko Grozdanić Ješa Denegri Ješa Denegri

19 Konstrukcije Balkana kao 29 Constructions of the Balkan Drugog u savremenoj as the Other in umetničkoj praksi Contemporary Art Practices Maja Ćirić Maja Ćirić

40 Zašto je Mangelos nagrada 41 Why did Katarina Zdjelar dodeljena Katarini Zdjelar? Win the Mangelos Award? Maja Ćirić Maja Ćirić

42 Pesimizam intelekta, 50 Pessimism of the Intellect, optimizam volje Optimism of the Will Stevan Vuković Stevan Vuković

59 Rad za svakoga i ni za koga – 62 A Work for Everyone o jednom umetničkom and Noone – on an Art eksperimentu u medijskom polju Experiment in the Media Field Stevan Vuković Stevan Vuković

66 PORTFOLIO Uroš Đurić 66 Uroš Đurić i Šejla Kamerić

76 PORTFOLIO Jamedsin 80 PORTFOLIO Jamedsin

JamesDin TAFF GUY Jamedsin TAFF GUY Mileta Prodanović Mileta Prodanović 82 Uskomešanost 82 Turbulence

84 Tunel 84 Tunel

86 Darkness 86 Darkness on the edge of the town on the edge of the town

88 Trash 88 Trash

92 Godišnji katalog galerije 92 Remont Gallery Remont za 2007. godinu Anual Catlogue 2007

172 Remont + 172 Remont +

174 Remont Outside 174 Remont Outside

176 Kućni duhovi Staklenca 178 Poltergeists of Shopping Maul “Staklenac”

180 SupermARTket 182 SupermARTket

184 documenata 12 magazine 184 documenata 12 magazine

186 “next_code:_love” 186 “next_code:_love” Štajerska jesen 2007. Steirische herbst 2007 REMONT ART FILES

Delovanje REMONT nezavisne umetničke asocijacije, kontekstualiizacije lokalnih artističkih praksi posled- između ostalog, karakteriše kontinuirano preispitiva- njih deset godina, dok je u kritičarskom tekstu pro- nje i traganje za novim modelima rada i komunikaci- komonetarisao stvaralački angažman i jedan od je sa stručnom ali i širom javnošću. U potrazi za no- poslednjih radova umetnika Živka Grozdanića. vim formama delovanja, kao i iz potrebe za prome- Kritičar i kustos Stevan Vuković u tekstu „Pesimizam nom uhodanog načina rada, pokušavamo da prona- intelekta, optimizam volje- Institucionalna kritika u đemo nove oblike komunikacije i prezentacije. Srbiji i nedostatak njenih organskih referenci“ pro- Kako su dva najvažnija štampana izdanja Remonta, blematizuje čitav niz aspekata složenog odnosa REMONT ART MAGAZIN i Godišnji katalog aktivnosti, društva, politike, kulture, pozicije umetnika u srp- došla do stadijuma da oba zahtevaju koncepcijske skom društvu druge polovine devedestih i nakon promene, ukazala se potreba za transformacijom. demokratskih promena. Istoričarka umetnosti i ku- Obzirom da oba izdanja imaju toga dosta zajednič- stoskinja mlađe generacije Maja Ćirić se u svom op- kog za cilj: popularizaciju savremene umetnosti i štem tekstu pozabavila analizom i istraživanjem kon- kulture; glavnu ciljnu grupu kustose, umetnike, isto- strukcije Drugog u savremenim umetničkim praksa- ričare umetnosti i art profesionalce; promovisanje ma na Balkanu, sa osvrtom na velike evropske izložbe savremene umetničke produkcije kroz praćenje no- sa balkanskom tematikom (U potrazi za Balkanijom, vih kretanja na sceni, nametnula se ideja o njihovom Krv i Med – budućnost je na Balkanu, U gudurama povezivanju u jednu publikaciju kojom bi se, iz šireg Balkana). Za odabrani kritičarski tekst Ćirićeva se od- ugla, predstavila neka od ključnih dešavanja i pojava lučila za text koji je pisan kao obrazloženje za dodelu na savremenoj srpskoj umetničkoj sceni. nagrade Mangelos mladoj beogradskoj umetnici Ka- Izdanje je ove godine pored pregleda aktivnosti Re- tarini Zdjelar, fokusirajući se na autentičan i dosledan mont – nezavisne umetničke asocijacije za 2007. pristup tematici koju ova autorka istražuje. godinu, posvećeno i promociji umetničkih projeka- U segmentu koji je predviđen za prezentaciju umet- ta i reprezentativnih kritičara različitih generacija ničkih portfolia Remont art files ovaj put predstavlja koji aktivno prate scenu. Fokus je na lokalnoj art sce- recentnija ostvarenja umetnika mlađe i srednje ge- ni u prvom redu iz razloga što je evidentatn nedo- neracije Aleksandra Jestrovića – Jamezdina i Uroša statak domaćih stručnih publikacija koje ozbiljnije Đurića. Projekti „Darkness“, „Tunel“, „Trash“ Aleksan- tretiraju pitanja savremenog likovnog stvaralaštva i dra Jestrovića i „Paralelni život“ Uroša Đurića obra- prezentuju stavove, mišljena, viđenja o ovdašnjoj đeni kroz umetničke stejtmente, kritičarske tekstove aktuelnoj umetničkoj produkciji. U uslovima još i reprodukcije, obezbedili su podrobniji i seriozniji uvek nedovoljnog poznavanja rada naših umetnika uvid u rad ovih autora. od strane inostranih art profesionalaca značaj takvih Od objavljivanja Remont Art magazina i godišnjeg štampanih izdanja leži pre svega u informisanju „iz- kataloga, Remont – nezavisna umetnička asocijacja prve-ruke“, ali i jednom širem predstavljanju i pozi- je i u segmentu stručne periodike, kao i u svojim cioniranju autora sa ovih prostora, a posebno onih ostalim aktivnostima, dala dobar primer kada je reč koji tek stupaju na scenu. Značaj ove publikacije za o sistematičnom, doslednom, profesionalnom pri- lokalnu sredinu je isto tako važan jer promoviše sa- stupu u praćenju, komentarisanju i dokumentovanju vremenu umetničku praksu i informiše buduće art rada jedne institucije i polju njenog interesovanja. profesionalce i širu publiku o novim dešavanjima na Objedinjavanjem dve publikacije u formalnom smi- polju domaće recentne vizuelne umetnosti, njene slu se zaokružuje priča o dva najznačajnija produkta produkcije i kritike. štampane izdavačke delatnosti Remont – nezavisne Segment u kom su objavljeni tekstovi istaknutih umetničke asocijacije, dok u koncepcijskom to pred- istoričara umetnosti, kustosa i kritičara profesora stavlja jedan novi, sadržajniji nivo praćenja, beleže- Jerka Denegrija, Stevana Vukovića i Maje Ćirić, pored nja, dokumentovanja, promovisanja recentnih opštih tekstova koji se tiču nekih aspekata prezen- umetničkih praksi u našoj zemlji. Period od godinu tacije i funkcionisanja savremene srpske umetničke dana će sasvim sigurno za buduća izdanja Remont scene obuhvata i odabrane tekstove posvećene radu art files-a ostaviti dovoljno vremena za dobru pripre- jednog domaćeg umetnika. Istoričar umetnosti pro- mu, odabir i umetničkog materijala i stručnih teksto- fesor Jerko Denegri je u tekstu pod nazivom „Simp- va koji će na najbolji mogući način dati uvid u aktu- tomi srpske umetničke scene posle 2000-te“ dao elno likovno stvaralaštvo i predstaviti one koji ga svoje viđenje ključnih karakteristika, međunarodne aktivno prate i o njemu pišu.

4 REMONT ART FILES

Engagement of REMONT independent artistic asso- the last ten years, while in his other text he com- ciation, among other things, is marked with con- mented on the artistic engagement and one of the tinuous revaluation and pursuit for new models of last works of artist Živko Grozdanić. work and communication with experts and the pub- Art critic and curator Stevan Vuković in his text „Pes- lic. Searching for new forms of action, breaking out simism of Intellect, Optimism of Will – Institutional the steady working patterns, we try to discover new Critic in Serbia and the Lack of its Organic Refer- ways of communication and presentation. ences“, questions the whole set of aspects of the Since two most important publications of Remont, complex relation of society, politics, culture, artist’s REMONT ART MAGAZINE and Annual Catalogue of position in Serbian society in the second half of the Activities, are in such a stage to demand changes in nineties and after the democratic changes. In her concept, a need for transformation emerges. Since general text art historian and curator of younger both publications have very much the same goals in generation Maja Ćirić dealt with the analysis and common: popularisation of contemporary art; cura- research of the construction of the Other in contem- tors, artists, art historians and art professionals as porary art praxis on Balkans, reviewing big European main target groups; promotion of contemporary art exhibitions that took Balkans for their subject production through surveying new tendencies on (Searching for Balkania, Blood and Honey – Future is the scene, the idea to join them in one publication on Balkans, In gorges of Balkans). For the critic part forced itself. This joint publication would, from a Ćirić chose the text written as elucidation for award wider angle, present some of the key events and giving ceremonial Mangelos when young Belgrade phenomena on Serbian contemporary art scene. artist Katarina Zdjelar won the award, focusing on This year’s publication, besides the regular overview authentic and consistent approach to the thematic of the activities of Remont – independent artistic this author is exploring. association for 2007, is dedicated to promotion of In the segment dedicated to presentation of artists’ art projects and art critics of different generations portfolios Remont art files presents recent realisa- actively watching the scene. The focus is on the local tions of artists of younger and middle generations art scene, first because of the evident lack of specia- Aleksandar Jestrović – Jamezdina and Uroš Đurić. lised home publications seriously dealing with ques- Projects „Darkness“, „Tunnel“, „Trash“ by Aleksandar tions of contemporary visual art and presenting Jestrović and „Parallel Life“ by Uroš Đurić are pre- positions, opinions, views on existing home artistic sented through artists’ statements, art-critical texts production. In such conditions in which work of our and reproductions, which provide thorough and artists is still lesser known by foreign art profession- more serious insight to the work of these artists. als, the importance of such publications is mainly in Since publishing Remont Art magazine and annual providing “first-hand” information, but also in a catalogue, Remont – independent artistic associa- broader representation and positioning of local au- tion set a good example in the segment of special- thors, especially those still emerging on the scene. ised periodicals as well as in other activities, espe- Importance of this publication for local scene is also cially considering systematic, consistent, profession- big since it promotes contemporary art praxis and al approach to tracking, commenting and document- informs future art professionals and wider audience ing the work of an institution and its realm of interest. on new developments on the local recent visual art, Merger of these two publications will formally con- its production and critic. clude the history of two most important products of The segment with the published texts of well-known Remont – independent artistic association’s publish- art historians, curators and critics: Professor Jerko ing activity, while as a new concept it will achieve Denegri, Stevan Vuković and Maja Ćirić, besides gen- more methodical way of tracking, writing down, eral writings on new aspects of presentation and documenting and promoting recent artistic praxis in functioning of Serbian contemporary art scene, con- our country. One year period will most certainly leave tains also selected texts dedicated to the works of enough time for future editions of Remont art files single local artists. Art historian professor Jerko to prepare and select artistic material and specialised Denegri in the text „Symptoms of Serbian Art Scene texts that will most efficiently provide insight in cur- After 2000“ gives his view on key characteristics, in- rent visual art praxis and represent those who ac- ternational contextualisation of local art praxis in tively watch it and write about it.

5 Ješa Denegri

SIMPTOMI SRPSKE UMETNIČKE SCENE POSLE DVEHILJADITE

Na po­čet­ku no­ve pe­ri­o­di­za­ci­je Te­o­rij­ski i kri­tičk­ i apa­ra­ti

Umet­nič­ka zbi­va­nja u po­sled­njoj de­ce­ni­ji pro­šlog Glo­bal­noj umet­nič­koj si­tu­a­ci­ji u sta­nju pot­pu­ne veka­ u Srbi­ ji­ obra­ đe­ na­ su izlo­ žba­ ma­ „Beo­ grad­ ska­ ne­pre­gled­no­sti pri­me­re­ni su od­go­va­ra­ju­ći te­o­rij­ski umet­nič­ka sce­na de­ve­de­se­tih“ u Ga­le­ri­ji Re­mont i kri­tič­ki pri­stu­pi ko­ji po­re­klom vi­še ni­su iz ka­non­ 2002, „O nor­ma­ln­osti“ u Mu­ze­ju sa­vre­me­ne umet­ skih meto­ do­ lo­ gi­ ja­ istori­ je­ umetno­ sti­ nego­ se za­ no­sti u Be­o­gra­du, 2005. go­di­ne, za pod­ruč­je Voj­ sniva­ ju­ na inter­ di­ sci­ pli­ nar­ nim­ i inter­ tek­ stu­ la­ nim­ vodi­ ne­ izlo­ žbom­ „Fatal­ ne­ deve­ de­ se­ te“­ u Muze­ ju­ ras­pra­va­ma po­sred­stvom ko­jih se po­ja­ve sa­vre­me­ sa­vre­me­ne li­kov­ne umet­no­sti u No­vom Sa­du ne umetno­ sti­ mogu­ da čita­ ju­ i tuma­ če­ kao kultu­ ­ 2001., time­ su – razu­ ­me se uz moguć­ nost­ druga­ ­či­ rolo­ ški­ feno­ me­ ni­ svojstve­ ni­ stvarno­ sti­ savre­ me­ nog­ jih vi­đe­nja, va­lo­ri­zo­va­nja i na­knad­nih re­vi­zi­ja – ma­sov­nog po­tro­šač­kog i me­dij­skog dru­štva. Apa­ obavlje­ ne­ prve­ istori­ za­ ci­ je­ jednog­ izu­ zet­ no­ burnog­ rati­ takvih­ čita­ nja­ i tuma­ če­ nja­ izvo­ de­ se iz koncep­ ­ peri­ o­ da­ doma­ će­ umetno­ sti.­ Nedu­ go­ potom,­ pre­ ta Danto­ o­ vog­ „sveta­ umetno­ sti“,­ Buri­ o­ o­ ve­ „rela­ ci­ o­ ­ la­skom u no­vi vek i no­vi mi­le­ni­jum, za­hva­lju­ju­ći ne esteti­ ke“­ i „umetno­ sti­ postpro­ duk­ ci­ je“,­ Mišo­ o­ ve­ ta­da no­vo­na­sta­lim umet­nič­kim po­ja­va­ma, otva­ra „umetno­ sti­ u raspli­ nu­ tom­ stanju“,­ „umetno­ sti­ u se te­ku­ća i ak­tu­el­na si­tu­a­ci­ja sa­svim uop­šte­no na­ stanju­ posle­ posle“­ (posle­ moder­ ni­ zma,­ posle­ zva­na „umet­no­šću po­sle dve­hi­lja­di­te“. Ni­je, na­rav­ postmo­ der­ ni­ zma,­ posle­ postpost­ mo­ der­ ni­ zma)­ no, je­di­no u (vi­zu­el­noj) umet­no­sti i je­di­no kod nas Ho­la Fo­ste­ra, „kon­tek­stu­la­ne umet­no­sti“ Po­la Ar­ po­če­tak ve­ka i mi­le­ni­ju­ma pre­lom­na hro­no­lo­ška dena,­ Grojso­ ve­ „umetno­ sti­ u doba­ bio­ po­ li­ ti­ ke“,­ Šu­ grani­ ca,­ taj je poče­ tak­ ujedno­ i međaš­ poli­ tič­ kih­ i va­ko­vi­će­ve „umet­no­sti u do­ba kul­tu­re“, „di­ja­lo­ške“ sve­ko­li­kih dru­gih zbi­va­nja na glo­bal­nom ni­vou, a i „par­ti­ci­pa­cij­ske umet­no­sti“ Kler Bi­šop, jed­no­stav­ bez ob­zi­ra na to što nigde­ i nika­ ­da nema­ preki­ ­da i no, „umet­no­sti po­sle dve­hi­lja­di­te“ Bo­ni­ta Oli­ve i za­sto­ja u od­vi­ja­nju to­ka ži­vo­ta iz­ve­sno ipak je­ste „sa­vre­me­ne umet­no­sti“ Ka­trin Mi­le, za sre­di­ne ne­ da ni ukup­na svet­ska si­tu­a­ci­ja po­sle nju­jor­škog je­ kada­ šnjeg­ jugo­ slo­ ven­ skog­ umetnič­ kog­ prosto­ ra­ dana­ e­ stog­ septem­ bra­ 2001. defi­ ni­ tiv­ no­ više­ nije­ zajed­ no­ „umetno­ sti­ u post-soci­ ja­ li­ zmu“­ Mari­ ne­ Gr­ isto­vet­na pret­hod­noj. Na do­ma­ćoj pak po­li­tič­koj ži­nić itd. Iz ce­log kon­glo­me­ra­ta tih raz­li­či­tih uvi­da, sce­ni po­sle dve­hi­lja­di­te na­stu­pa raz­do­blje uslov­no evi­den­ci­ja, te­ma­ti­za­ci­ja, hi­po­te­za, ar­gu­men­ta­ci­ja i nazva­ ne­ postso­ ci­ ja­ li­ stič­ ke­ tranzi­ ci­ je­ sa svim nje­ za­klju­ča­ka (a ko­je se na­ve­de­nim re­fe­ren­ca­ma ni­ nim brojnim­ i krupnim­ kontra­ ver­ za­ ma.­ U takvim­ po­što ne za­vr­ša­va­ju) mo­gli bi da pro­iz­i­đu in­stru­ iz­me­nje­nim pri­li­ka­ma u po­li­ti­ci, eko­no­mi­ji, kul­tu­ri menti­ sagle­ da­ va­ nja­ i razu­ me­ va­ nja­ aktu­ el­ ne­ umet­ i sva­ko­dnev­noj stvar­no­sti me­nja se i sa­vre­me­na ničke­ situ­ a­ ci­ je,­ najpre­ u njenoj­ global­ noj­ makro­ te­ ­ umet­nič­ka si­tu­a­ci­ja u ko­joj je – za raz­li­ku od de­ve­ ri­to­ri­ji a po­tom znat­no de­talj­ni­je i u po­je­di­nim de­se­tih go­di­na pro­šlog ve­ka ka­da se mo­glo go­vo­ nje­nim par­ci­jal­nim i lo­kal­nim mi­kro­te­ri­to­ri­ja­ma. riti­ o stanju­ „umetno­ sti­ u zatvo­ re­ nom­ društvu“­ ili o „opstan­ ku­ umetno­ sti­ u vreme­ nu­ krize“­ – danas­ i ov­de čini­ se vr­lo teško­ utvr­di­ti koji­ bi to zbir­ni ter­ Me­đu­na­rod­na kon­tek­stu­a­li­za­ci­ja mini­ adekvat­ no­ mogli­ da označe­ trenut­ no­ stanje­ srp­ske umet­no­sti po­sle dve­hi­lja­di­te na do­ma­ćoj umet­nič­koj sce­ni u kli­mi glo­bal­ne pot­ pu­ne ne­pre­gled­no­sti sa­vre­me­ne umet­no­sti. Sve vode­ će­ umetnič­ ke­ poja­ ve­ u neka­ da­ šnjem­ ju­ go­slo­ven­skom kul­tur­nom pro­sto­ru u raz­do­blju po­sle­rat­nog mo­der­ni­zma, pod­jed­na­ko one u sre­ di­šnjoj kao i one na al­ter­na­tiv­noj po­zi­ci­ji, ta­ko­đe i 6 one u razdo­ blju­ plura­ li­ stič­ kog­ postmo­ der­ ni­ zma,­ Ra­do­sa­vlje­vić, i Ne­boj­še Vi­li­ća 2005, „Umet­nost, ži­ svoju­ su među­ na­ rod­ nu­ kontek­ stu­ a­ li­ za­ ci­ ju­ podra­ ­ vot i pomet­ nja“­ Renea­ Bloka­ i Barba­ re­ Hajnrih­ zu­me­va­le u am­bi­jen­tu za­pad­no­e­vrop­skog kul­tur­ 2006. i „Mi­kro­na­ra­ti­vi“ Lo­ra­na He­đi­ja 2007., uz broj­ nog kru­ga sma­tra­ju­ći se nje­go­vom in­te­gral­nom ne druge­ prired­ be­ među­ nar­ do­ nog­ karak­ te­ ra,­ Be­ kom­po­nen­tom i ka­da za to uvek ni­su po­se­do­va­le o­grad u me­ri sop­stve­nih ras­po­lo­ži­vih in­te­lek­tu­al­ dovolj­ no­ faktič­ kog­ pokri­ ća.­ U deve­ de­ se­ tim­ godi­ ­ nih i fi­nan­sij­skih mo­guć­no­sti po­sta­je po­zor­ni­com nama­ prošlog­ veka­ u Srbi­ ji­ čak se i takav­ hipo­ te­ tič­ ­ inter­ na­ ci­ o­ nal­ nog­ umetnič­ kog­ okuplja­ nja.­ Ne tre­ ki kon­tekst gu­bi u pri­li­ka­ma ta­da­šnje po­li­tič­ke i ba, pri tome,­ zapo­ sta­ vi­ ti­ ni koncep­ cij­ ski­ srodne­ kul­tur­ne izo­la­ci­je do­ma­će sre­di­ne. A ka­da je do ob­ po­du­hva­te u voj­vo­đan­skom umet­nič­kom pro­sto­ nove­ učesta­ li­ jih­ rela­ ci­ ja­ sa među­ na­ rod­ nim­ umet­ ru. Ti­me je u prin­ci­pu us­po­sta­vljen za­pra­vo je­di­ni ničkim­ zbiva­ nji­ ma­ posle­ dvehi­ lja­ di­ te­ najzad­ došlo,­ strate­ gij­ ski­ prihva­ tlji­ vi­ model­ ili primer­ među­ na­ ­ ta će se kontek­ stu­ a­ li­ za­ ci­ ja­ poče­ ti­ da odvi­ ja­ u rani­ je­ rod­ne kon­tek­stu­a­li­za­ci­je sa­vre­me­ne srp­ske umet­ ne­pred­vi­đe­nim uslo­vi­ma i okvi­ri­ma. Na­i­me, po­če­ no­sti po­sle dve­hi­lja­di­te ko­ji – uka­zu­ju­ći se po to­me tak te kon­tek­stu­a­li­za­ci­je obe­le­žen je iz­lo­žbom „Af­ uzo­rom za sve osta­le ob­li­ke po­li­tič­kih, eko­nom­skih ter the Wall – Art and Cultu­ re­ in post­commu­ nist­ i kultur­ nih­ inte­ gra­ ci­ ja­ – uslovlja­ va­ da savre­ me­ na­ Europe“,­ po koncep­ ci­ ji­ Boja­ ne­ Pejić­ i Dejvi­ da­ Elio­ ta­ srp­ska umet­nič­ka sce­na po svo­jim kre­a­tiv­nim i in­ u Mu­ze­ju Mo­der­ne umet­no­sti u Stok­hol­mu 1999- sti­tu­ci­o­nal­nim ka­pa­ci­te­ti­ma i po­ten­ci­ja­li­ma da­nas 2000., ne­du­go po­tom usle­di­će se­ri­ja autor­skih iz­ se čini­ spremnom­ i sposob­ nom­ da uskoro­ defi­ ni­ ­ lo­žbi ku­ra­to­ra pre­sti­žne struč­ne me­đu­na­rod­ne tivno­ posta­ ne­ neodvo­ ji­ vi­ deo regi­ o­ nal­ ne­ i šire­ re­pu­ta­ci­je kao što su „In se­arch of Bal­ka­nia“ Pe­te­ra evrop­ske te­ku­će umet­nič­ke si­tu­a­ci­je. Vaj­bla u Gra­cu 2002, „Blut und ho­nig – Die Zu­kunft ist am1 Bal­kan“ Ha­ral­da Ze­ma­na u Be­ču 2003., „In­ der Schluc­hten des Bal­kans“ Re­nea Blo­ka u Ka­se­lu Ele­men­ti in­sti­tu­ci­o­nal­nog 2003., za koje­ je izlo­ ­žbe već iz samih­ nji­ho­vih na­zi­ si­ste­ma umet­no­sti va odmah­ uočlji­ vo­ i karak­ te­ ri­ stič­ no­ da kao zajed­ ­ nič­ku od­red­ni­cu po­se­du­ju u se­bi po­jam Bal­kan. Teku­ ći­ umetnič­ ki­ život­ u Srbi­ ji­ posle­ dvehi­ lja­ di­ te­ Da­kako­ da taj pojam,­ iako op­te­re­ćen dav­nim i ne­ od­vi­ja se unu­tar in­sti­tu­ci­o­nal­nog umet­nič­kog si­ davnim­ nega­ tiv­ nim­ stere­ o­ ti­ pi­ ma,­ nipo­ što­ ne bi stema­ uglavnom­ zate­ če­ nog­ iz prethod­ nih­ razdo­ ­ treba­ lo­ smatra­ ti­ unapred­ nepri­ me­ re­ nim,­ pita­ nje­ je blja, ali tako­ đe­ i sa karak­ te­ ri­ stič­ nim­ prome­ na­ ma­ jedi­ no­ otku­ da­ i zbog čega­ se upravo­ sada,­ dakle­ pro­iz­i­šlih iz ukup­nih pro­me­na dru­štve­nih, po­li­tič­ počet­ kom­ dvehi­ lja­ di­ tih,­ javlja­ takva­ kontek­ stu­ a­ li­ ­ kih i kul­tur­nih pri­li­ka po­sled­nje de­ce­ni­je. Na vr­hu za­ci­ja sa­vre­me­ne srp­ske umet­no­sti? Iz­ve­sno je­ste tog si­ste­ma na­la­ze se dva Mu­ze­ja sa­vre­me­ne da su pre ne­go pre­vas­hod­no iz umet­nič­kih, za umet­no­sti, u Be­o­gra­du i No­vom Sa­du, pr­vi znat­no upo­tre­bu ovog poj­ma u ve­zi sa po­me­nu­tim iz­lo­ re­vi­ta­li­zo­van po­sle te­ške kri­ze u vre­me pret­hod­ne žba­ma po­sto­ja­li od­re­đe­ni po­li­tič­ki raz­lo­zi i in­te­re­si upra­ve, sa bo­ga­tim iz­la­gač­kim pro­gra­mom u stu­ kul­tur­nih in­sti­tu­ci­ja i po­je­di­na­ca za­hva­lju­ju­ći ko­ji­ dij­skim ob­ra­da­ma da­ljeg i bli­žeg isto­rij­skog na­sle­ ma je taj pojam­ izne­ na­ da­ uveden­ u opti­ caj,­ da bi đa (re­tro­spek­ti­ve Go­lu­bo­vi­ća, Do­bro­vi­ća, Ta­ba­ko­ pritom­ kao pozi­ tiv­ nu­ posle­ di­ cu­ ovih izlo­ žbi­ valja­ lo­ vića,­ Lubar­ de,­ Otaše­ vi­ ća,­ Iljovskog,­ Todo­ si­ je­ vi­ ća,­ ista­ ći­ činje­ ni­ cu­ da su one znatnom­ broju­ umetni­ ka­ Pa­ri­po­vi­ća re­tro­spek­ti­vom do­ma­će umet­no­sti de­ sa ovih pro­sto­ra pru­ži­le šan­su na­stu­pa na me­đu­ vede­ se­ tih­ „O normal­ no­ sti“),­ obno­ vom­ među­ na­ rod­ ­ na­rod­noj umet­nič­koj sce­ni ne­du­go po­sle pret­hod­ ne sa­rad­nje (iz­lo­žbe ko­lek­ci­je Er­ste Ban­ke, sa­vre­ ne ne­pod­no­šlji­ve na­met­nu­te izo­la­ci­je. Po­mak u me­ne bri­tan­ske umet­no­sti „U ras­ko­ra­ku“ i dr.), uz među­ na­ rod­ noj­ kontek­ stu­ a­ li­ za­ ci­ ji­ savre­ me­ ne­ srp­ kon­stant­ne pre­zen­ta­ci­je do­ma­će i ino­stra­ne te­ku­ ske umet­nič­ke sce­ne po­no­vo ka ši­rim evrop­skim će pro­duk­ci­je u Sa­lo­nu. Iz­u­zet­no je in­te­ziv­na iz­la­ koor­ di­ na­ ta­ ma­ stigao­ je – možda­ para­ dok­ sal­ no­ – gač­ka i iz­da­vač­ka ak­tiv­nost Mu­ze­ja sa­vre­me­ne ume­sto od ino­stra­nih upra­vo od do­ma­ćih or­ga­ni­ umet­no­sti u No­vom Sa­du, sa za­vr­še­nim me­đu­na­ zaci­ o­ nih­ inici­ ja­ ti­ va.­ Nai­ me,­ posle­ izlo­ žbe­ „Konver­ ­ rodnim­ konkur­ som­ za podi­ za­ nje­ nove­ zgrade­ zaci­ ja“­ autora­ Brani­ sla­ ve­ Anđel­ ko­ vić,­ Brani­ sla­ va­ upravo­ pred počet­ nim­ stadi­ ju­ mom­ izgrad­ nje,­ sa Di­mi­tri­je­vi­ća i De­ja­na Sre­te­no­vi­ća u Mu­ze­ju sa­vre­ značaj­ nom­ studij­ skom­ izlo­ žbom­ „Central­ no­ e­ vrop­ ­ me­ne umet­no­sti u Be­o­gra­du 2001, re­for­mom Ok­ ski aspek­ti voj­vo­đan­skih avan­gar­di 1920–2000“, to­bar­skog sa­lo­na od lo­kal­ne do me­đu­na­rod­ne 2002, re­tro­spek­ti­va­ma Mat­ko­vi­ća, Som­ba­ti­ja i Ko­ ma­ni­fe­sta­ci­je, za­po­če­toj iz­lo­žbom „Kon­ti­nen­tal­ni pic­la, te broj­nim pri­red­ba­ma ak­tu­el­ne umet­no­sti do­ru­čak“ An­de Ro­ten­berg i na­sta­vlje­noj sle­de­ćim u sopstve­ noj­ sredi­ ni­ i šire­ u regi­ o­ nu.­ Ostale­ neza­ ­ go­di­na­ma iz­lo­žba­ma „Umet­nost ko­ja ra­di“ Dar­ke obi­ la­ zne­ scene­ odvi­ ja­ nja­ doma­ ćeg­ umetnič­ kog­ 7 ži­vo­ta či­ne bu­džet­ske i pri­vat­ne iz­la­gač­ke in­sti­tu­ drža­ je­ svojstve­ ne­ speci­ fič­ nim­ društve­ no-po­ li­ tič­ ­ cije­ (pored­ već pome­ nu­ tog­ Okto­ bar­ skog­ salo­ na,­ kim pri­li­ka­ma sop­stve­nih sre­di­na. Po­jam „glo­bal­ likov­ ni­ program­ Belef-a,­ gale­ ri­ je­ Udruže­ nja­ likov­ ­ no“ u sa­vre­me­noj so­ci­jal­noj te­o­ri­ji sve če­šće ustu­ nih i pri­me­nje­nih umet­ni­ka Sr­bi­je, Kul­tur­nog cen­ pa mesto­ pojmu­ „glokal­ ­no“, a taj isti pojam­ mogu­ ­ tra, Do­ma omla­di­ne, Stu­dent­skog kul­tur­nog cen­ će je pri­me­ni­ti i na zbi­va­nja u sa­vre­me­noj umet­no­ tra, Gra­fič­kog ko­lek­ti­va, grad­ska ga­le­ri­ja Be­o­grad, sti. Ne sa­mo u ši­ro­kom me­đu­na­rod­nom pod­ruč­ju Centar­ za kultur­ nu­ dekon­ ta­ mi­ na­ ci­ ju,­ Remont,­ Ci­ nego­ čak i u poje­ di­ nim­ užim lokal­ nim­ scena­ ma­ po­ ne­ma Rex, Ma­ga­cin, ga­le­ri­je Kon­tekst, Ozo­n, Zvo­ put srpske­ posle­ dvehi­ lja­ di­ te,­ osnovni­ karak­ te­ ri­ ­ no, Haos,­ inter­ na­ ci­ o­ nal­ na­ radi­ o­ ni­ ca­ „Real Presen­ ce“­ stič­ni simp­tom si­tu­a­ci­je je­ste ne­pre­gled­nost i ne­ ko­ja oku­plja mla­de umet­ni­ke i stu­den­te umet­nič­ sagle­ di­ vost­ umetnič­ kih­ zbiva­ nja­ u koji­ ma­ među­ kih akade­ mi­ ja),­ u No­vom Sadu­ Cen­tar za no­ve me­ nji­ho­vim ak­te­ri­ma iz vi­še ak­tiv­nih ge­ne­ra­ci­ja umet­ di­je Ku­da.org i Cen­tar za vi­zu­el­nu kul­tu­ru Zlat­no ni­ka, kri­ti­ča­ra i ku­ra­to­ra da­nas vi­še ne po­sto­ji pot­ oko, re­for­mi­sa­ni Me­mo­ri­jal Na­de­žde Pe­tro­vić u puni­ konsen­ zus­ u vezi­ prepo­ zna­ va­ nja­ i odre­ đi­ va­ ­ Čač­ku i dru­ge usta­no­ve i ini­ci­ja­ti­ve ko­je ovom pri­ nja uloga,­ statu­ sa­ i vredno­ sti­ mnogo­ broj­ nih­ indi­ ­ li­kom ne­na­mer­no ne uspe­va­mo da za­be­le­ži­mo. vi­du­al­nih do­pri­no­sa. U ta­kvoj ha­o­tič­noj umet­nič­ Ne­na­dok­na­di­vu pak pra­zni­nu osta­vlja pre­sta­nak koj si­tu­a­ci­ji u ko­joj su u op­ti­ca­ju vr­lo raz­li­či­te so­lu­ or­ga­ni­zo­va­nja Bi­je­na­la mla­dih u Vr­šcu i za­stoj u cije,­ svako­ od akte­ ra­ na sceni­ oprede­ lju­ je­ se prema­ de­lo­va­nju Sa­vre­me­ne ga­le­ri­je u Pan­če­vu. Osta­li ne­kim sop­stve­nim me­ri­li­ma, sklo­no­sti­ma i in­te­re­ va­žni fak­to­ri si­ste­ma umet­no­sti je­su po­vre­me­ni ot­ sima,­ što uslovlja­ va­ da se trenut­ na­ umetnič­ ka­ situ­ ­ kupi­ teku­ će­ produk­ ci­ je­ od strane­ gradske­ otkup­ ne­ a­ci­ja – u svim sredi­ ­na­ma pa tako­ i u Sr­bi­ji posle­ komi­ si­ je,­ privat­ no­ kolek­ ci­ o­ nar­ stvo­ u začet­ ku­ (sa iz­ dvehi­ lja­ di­ te­ – odvi­ ja­ u raspo­ ni­ ma­ izme­ đu­ poželj­ ne­ uzet­ no­ nedav­ no­ otvore­ nom­ insti­ tu­ ci­ jom­ Muzej­ neo­gra­ni­če­ne slo­bo­de umet­no­sti s jed­ne i nje­ne Ma­cu­ra u No­vim Ba­nov­ci­ma), a ce­lo­kup­nu ak­tiv­ ne­po­želj­ne pre­br­ze per­ma­nent­ne po­tro­šnje mno­ nost po­sto­je­ćeg si­ste­ma umet­no­sti i ak­tu­el­nih gih ulo­že­nih ener­gi­ja i ostva­re­nih do­me­ta s dru­ge umet­nič­kih prak­si pra­ti ne­a­de­kvat­na pa­žnja elek­ stra­ne ovog kraj­nje uda­lje­nog po­la­znog ra­spo­na. tronskih­ i štampa­ nih­ medi­ ja,­ nedo­ stat­ na­ časo­ pi­ sna­ Iz­me­đu pre­o­vla­đu­ju­ćih apo­li­tič­nih umet­nič­kih in­ pro­duk­ci­ja sve­de­na na ma­ga­zin Re­mont i Art­fa­mu, di­vi­du­la­nih is­po­ve­sti, po­je­di­nač­nih pri­vat­no­sti, što uslovlja­ va­ teško­ će­ sada­ šnjeg­ delo­ va­ nja­ i polo­ ­ su­bjek­tiv­nih na­ra­ci­ja od­re­da na pret­po­stav­ka­ma žaja­ likov­ ne­ kriti­ ke­ koja­ dovolj­ no­ ažurno­ ne stiže­ da autono­ mi­ je­ umetno­ sti­ i retkih­ povre­ me­ nih­ poli­ tič­ ­ kon­cep­tu­al­no ar­ti­ku­li­še idej­ne i pro­blem­ske to­ko­ve kih za­o­štra­va­nja umet­nič­kih sta­vo­va na­sta­lih u na srpskoj­ umetnič­ koj­ sceni­ posle­ dvehi­ lja­ di­ te.­ uslovi­ ma­ krajnje­ pola­ ri­ zo­ va­ nog­ i konflikt­ nog­ srp­ skog društva­ u nepred­ vi­ dlji­ vim­ uslovi­ ma­ postso­ ci­ ­ ja­li­stič­ke tran­zi­ci­je od­vi­ja se ov­da­šnji umet­nič­ki Ka­rak­te­ri­sti­ke umet­ničk­ ih ži­vot po­sle dve­hi­lja­di­te. Ne­ku uho­da­nu at­mos­fe­ru prak­si po­sle dve­hi­lja­di­te traja­ nja­ doma­ ćeg­ umetnič­ kog­ živo­ ta­ tek na trenu­ ­ tak pre­ki­da­ju že­sto­ki an­ga­žma­ni po­put onog Živ­ka Shod­no prin­ci­pi­ma post­mo­der­ni­stič­kog plu­ra­li­ Grozda­ ni­ ća­ i njego­ vog­ osobe­ nog­ „ПОП Аrta“ ili zma, sa­vre­me­ne umet­nič­ke prak­se pod­vr­ga­va­ju se pak ekscesi poput­ nedav­ nog­ nasil­ nog­ spreča­ va­ nja­ nače­ lu­ legi­ tim­ no­ sti­ svih upotre­ blji­ vih­ jezi­ ka­ i sred­ otva­ra­nja iz­lo­žbe „Od­stu­pa­nje – sa­vre­me­na umet­ stava­ među­ koji­ ma­ nema­ nika­ kvih­ unapred­ privi­ ­ nič­ka sce­na Pri­šti­ne“ u Ga­le­ri­ji Kon­tekst. Šta da­nas le­go­va­nih op­ci­ja, sto­ga da­nas rav­no­prav­no tra­ju i ov­de, za­pra­vo, sa­či­nja­va ukup­nu sce­nu sa­vre­me­ manu­ el­ ni­ postup­ ci­ (slikar­ stvo,­ crtež,­ skulptu­ ra)­ i uz ne umet­nos­ti, ko­jim se cilj­nim gru­pa­ma ona obra­ njih postup­ ci­ proiz­ i­ šli­ iz produk­ ci­ ja­ statič­ nih­ i po­ ća i na kakvu­ sve recep­ ci­ ju­ nai­­lazi,­ kakve­ se ideje­ u kret­nih teh­nič­kih pred­sta­va (fo­to­gra­fi­ja, film, vi­ njoj poja­ vlju­ ju,­ koji­ su vredno­ sni­ dome­ ti­ u njoj do­ deo). Na sa­vre­me­noj srp­skoj umet­nič­koj sce­ni de­ stig­nu­ti, ko­ji se pro­ble­mi za­či­nju i raz­vi­ja­ju, vr­lo je fi­ni­tiv­no je neo­dr­ži­va na­vod­na po­de­la na kla­sič­ne teško­ i čak nemo­ gu­ će­ sagle­ da­ ti­ samo­ iz jedne­ je­ i no­ve me­dije,­ što je ustva­ri la­žna dile­ ma­ na ko­joj dine­ pogo­ to­ vo­ kao u sluča­ ju­ pisca­ ovih redo­ va­ da­ voli­ da insi­ sti­ ra­ jedan­ deo povr­ šno­ obave­ šte­ ne­ do­ nas uve­li­ko aut­saj­der­ske kri­tič­ke po­zi­ci­je. Jed­no bi ma­će jav­no­sti. Jed­na­ko ta­ko vi­še ne po­sto­ji po­de­ ipak tre­ba­lo da bu­de iz­ve­sno: sa­vre­me­noj umet­ la po so­ci­o­lo­škom i ide­o­lo­škom klju­ču pre­ma mo­ no­sti u Sr­bi­ji, ko­joj no­vu sve­ži­nu do­no­se pri­pad­ni­ de­li­ma main­ stre­ a­ ma­ i al­ter­na­ti­ve. Ube­dlji­vo gla­si ci gene­ ra­ ci­ je­ umetni­ ka­ formi­ ra­ nih­ u obno­ vlje­ nim­ Grojso­ va­ tvrdnja­ po kojoj­ se savre­ me­ ni­ umetni­ ci­ nor­mal­nim pri­li­ka­ma po­sle ra­zor­nih de­ve­de­se­tih po­svu­da u sve­tu ko­ri­ste isto­vet­nim iz­ra­žaj­nim godi­ na­ prošlog­ veka,­ traba­ da je svojstve­ no­ neo­ sredstvi­ ma­ posred­ stvom­ kojih­ obra­ đu­ ju­ teme­ i sa­ meta­ no­ slobod­ no­ ispo­ lja­ va­ nje­ u mnoštvu­ ravno­ ­ 8 prav­nih umet­nič­kih je­zi­ka i iz­ra­žaj­nih me­di­ja, kao i njiho­ vih­ plura­ li­ stič­ kih­ kritič­ kih­ prepo­ zna­ va­ nja,­ či­ ta­nja i tu­ma­če­nja. Kao pr­vi po­ku­šaj ta­kvog pre­po­ zna­va­nja pre­ma jed­nom od mo­gu­ću­ih uzo­ra­ka valja­ zabe­ le­ ži­ ti­ formi­ ra­ nje­ kolek­ ci­ je­ savre­ me­ ne­ srp­ ske umetno­ sti­ u vlasni­ štvu­ kompa­ ni­ je­ Tele­ nor.­ A kada­ dođe­ trenu­ tak­ i steknu­ se za to neop­ hod­ ni­ uslovi,­ obave­ istra­ ži­ va­ nja­ i utvrde­ krite­ ri­ ju­ mi,­ umet­ nička­ zbiva­ nja­ u Srbi­ ji­ u prvoj­ dece­ ni­ ji­ XXI veka­ oba­ve­zno će da po­sta­nu pred­me­tom stu­dij­ske ob­ ra­de pod­jed­na­ko kao što su ta­kve va­lo­ri­za­ci­je oba­ vlje­ne po­vo­dom svih pret­hod­nih raz­do­blja nje­nog isto­rij­skog po­sto­ja­nja.

Ješa Denegri

Rođen 5. septembra 1936. u Splitu. Diplomirao i doktorirao na Filo- zofskom fakultetu u Beogradu. Od 1965. do 1989. godine zaposlen u Muzeju savremene umetnosti u Beogradu. Od 1990. godine van- redni i redovni professor Filozofskog fakulteta- Odeljenje za istoriju umetnosti, u Beogradu. Bio član redakcija časopisa Umetnost, Spot, Arhitektura – Urbanizam, Projekt, glavni i odgovorni urednik časopi- sa Moment.

Objavio sledeće knjige: EXAT 51 (sa Ž. Koščevićem), 1979; Apstraktna umjetnost u Hrvatskoj, 1985; Teme srpske umetnosti: pedesete-devedesete (u pet knjiga), 1993-1999; Fragmenti: šezdesete-devedesete – umetnost u Vojvodini, 1994; Beograd kao međunarodna umetnička scena, 1998; EXAT 51 – Nove tendencije: umetnost konstruktivnog pristupa, 2000; Prilozi za drugu liniju, 2003; Studentski kulturni centar kao umetnička scena, 2003; Opstanak umetnosti u vremenu krize, 2004; Sprehodi po sloven- ski moderni in postmoderni umetnosti, 2004; Prilozi za drugu liniju 2, 2005; Umetnička kritika u drugoj polovini XX veka, 2006; Razlozi za drugu liniju 2007. 9 Ješa Denegri

SYMPTOMS OF SERBIAN ART SCENE AFTER YEAR 2000

The Start of New Periodization Theoretical and Critical Approach

Art events in the final decade of the last century Global art situation in the state of complete vast- in Serbia have been elaborated on in the exhibi- ness requires appropriate theoretical and critical tions “Belgrade Art Scene in the 90s” in Remont approaches that do not originate any more from Gallery 2002, “On normalization” in Museum of canonical methodologies of art history, but are Contemporary art museum in Belgrade 2005, in based on interdisciplinary and inter-textual discus- the exhibition “Fatal nineties” in Museum of Con- sions that are used for reading and interpreting temporary Art in Novi Sad 2001 in Vojvodina, and the aspects of contemporary art as cultural phe- by that – with, understandably, possibility of dif- nomena typical for reality of contemporary mass ferent opinions, evaluations and supplementary consumerism and the media society. These ap- revisions – the first historization of an extremely proaches to reading and interpretation are derived turbulent period of national art was published. from the concepts of Danto’s “art world“, Bourri- Soon afterwards, with the transition to the new aud’s “relation aesthetics“ and “art of postproduc- century and millennium, owing to the fact that tion“, Michaud “art in the state of flux“, “art in the newly-founded art aspects, current and contem- state after post-“ (after modernism, after postmod- porary situation became open, it is generally ernism, after post-postmodernism) of Hal Foster, named as “art after year 2000”. Naturally, it is not Paul Arden “contextual art“, Groys “art in the age of only that the (visual) art at the beginning of cen- bio-politics“, Šuvaković “art in the age of culture“, tury and millennium (worldwide and locally) be- “dialogue“ and “participatory art“ of Claire Bishop, come a turning point in chronological border, but simply, “art after year 2000“ by Bonito Oliva and also the start is a borderline of both political and “contemporary art“ by Catherine Millet, from the other events at the global level, that regardless of environment of former Yugoslav art space togeth- it, the course of life has never and nowhere been er in “art in post-socialism“ by Marina Gržinić etc. interrupted and stopped for the time being, From the entire conglomerate of these various in- though yet after 9/11 in New York, the situation in sights, evidence, thematisation, hypothesis, argu- entire world is not the same and it is definitely not mentation and conclusions (that the listed refer- like it was before. Yet in the national political ences do not end at all) and could come out like scene after 2000, the era of conditionally so-called the instruments of observation and understanding post-socialist transition with its numerous and of the contemporary art situation, first in its global large controversies came. In that type of altered macro territory and then in greater detail in sepa- conditions of politics, economy, culture and eve- rate, partial and local micro territories. ryday reality, contemporary art situation has changed – unlike the 90s when we discussed the state of “art in closed society” or the “survival of art International Contextualization in time of crisis” – today and here it seems to be of Serbian Art after 2000 very difficult to establish the type of collective terms that would adequately signify the contem- All leading art movements in former Yugoslav cul- porary state of the national art scene in the at- tural space in the age of post war modernism, in- mosphere of total global vastness of contempo- cluding those in middle as well as in alternative rary art. position, the ones in the age of pluralist postmod- ernism, implied their international contextualiza- 10 tion in ambience of West European cultural circle Radosavljević and Nebojša Vilić in 2005, “Art, life with the belief in being its integral component and confusion” by Rene Block and Barbara Hein- although there was no adequate factual back- rich in 2006 and “Micro Narratives” by Lorand He- ground for that. In Serbia in the 90s that type of gyi in 2007, with various other exhibitions of inter- hypothetical context was lost in the circumstances national type in Belgrade, in the scope of available of former political and cultural isolation in the local intellectual and financial possibilities, the local environment. After 2000, the restoration of the space has become the stage of international art frequent relations with the international art events congregation. We should not neglect conceptu- finally occurred, so that contextualisation started ally related attempts in the art space in Vojvodina. to unfold earlier in unexpected circumstances and All these basically established the only strategi- frames. Namely, the start of this contextualization cally acceptable model, or an example of interna- was marked with the exhibition „After the Wall – tional contextualization of contemporary Serbian Art and Culture in Post-communist Europe“, in the art after year 2000 that – pointing out the role conception of Bojana Pejić and David Elliot in Mu- model for all the other forms of political, econom- seum of Contemporary Art in Stockholm from ical and cultural integrations – it made contempo- 1999-2000, soon afterwards the series of author rary Serbian art scene, by its creative and institu- exhibitions followed by curators of distinguished tional capacities and potentials, seem ready and professional international reputation like „In search capable of soon becoming an inseparable part of of Balkania“ by Peter Weibel in Graz 2002, „Blüt und regional and wider European contemporary art hönig – Die Zukunft ist am Balkan“ by Harald Zse- situation. mann in Vienna 2003, „In der Schluchten des Bal- kans“ by Rene Block in Kassel 2003; just in relation to the titles of these exhibitions, it is characteristi- Elements of Art Institutional System cally obvious that the common denominator for all of this is the notion of Balkans. It is for sure that The contemporary art life in Serbia after year 2000 this notion, although burdened with ancient and is unfolded inside the institutional art system as it recent negative stereotypes, should, under no cir- is there mostly like a remnant of the previous age, cumstances, be observed in advance as inappro- although these changes typically resulted from priate, the only question is where from and why total change in social, political and cultural circum- just now, at the beginning of the 2000s, this type stances in the last decade. On the top of the sys- of contextualisation of the contemporary Serbian tem there are two museums of Contemporary art art occurred? It is obvious that the art is the reason – in Belgrade and Novi Sad, the first significantly for that, as, regarding the exhibitions in question, revitalized after the difficult crisis in the time of the use of this notion occurred because of the spe- previous management, with rich exhibition pro- cific political reasons and interests of cultural insti- gram in the studio versions of closer and further tutions and individuals that introduced that term historical background (retrospectives of Golubović, suddenly, and with the positive outcome of these Dobrović, Tabaković, Lubarda, Otašević, Iljovski, exhibitions, we have to point out the fact that it Todosijević, Paripović retrospective of national art provided opportunities to a significant number of in the 90s “On normality”), renovation of interna- artists from this space to participate in the interna- tional cooperation (exhibition of Erste Bank Collec- tional art scene not long after the former unbear- tion, contemporary British Art “Breaking Step” and able imposed isolation. Step forward in interna- other), with the contemporary presentation of lo- tional contextualisation of contemporary Serbian cal and foreign production in the Salon. Museum art scene towards wider European coordinates has of Contemporary Art in Novi Sad has an extremely come again – somewhat paradoxically – instead intensive curator and exhibition practice, with fi- from foreign – from local organizations and initia- nalized international competition for erecting new tives. Namely, after the exhibition “Conversation” building just before the initial state of construc- by authors Branislava Anđelković, Branislav tion, with important studio exhibition “Central Dimitrijević and Dejan Sretenović in Museum of European aspects of Vojvodina avant-garde 1920- Contemporary Art in Belgrade in 2001, the reform 2000” in 2002, retrospectives of Matković, Szom- of October Salon from local to international mani- baty and Kopicl, numerous exhibitions of contem- festation, that started by the exhibition “Continen- porary art in their personal environment and tal breakfast” by Anda Rottenberg and continued wider in the region. Other unavoidable scenes of in the following years by “Art that works” by Darka local art life are budget and private exhibition in- 11 stitutions (besides October Salon, BELEF art pro- where in the world the contemporary artists use gram, gallery of Association of art and applied art the same methods of expression by processing the representatives of Serbia, Cultural centre, Dom topics and contents typical for specific socio-polit- omladine, Student cultural centre, Graphic collec- ical conditions of their own environment. The term tive, City gallery Belgrade, Centre for cultural de- “global” in contemporary social theory is often be- contamination, Remont, Cinema Rex, Magacine, ing replaced by the term “glocal”, which is also ap- Kontekst gallery, Ozone, Zvono, Haos, internation- plicable to the events in the contemporary art. Not al workshop „Real Presence“ that gathers young only in wide international area but also in the spe- artists and students of art academies), in Novi Sad cific small local scenes like the Serbian one after Centre for new media Kuda.org and Centre for 2000, the basic symptom of the situation is the im- visual culture “Zlatno oko”, reformed Memorial menseness and immeasurability of art events and Nadežda Petrović in Čačak and other institutions today, among protagonists from several active and initiatives that might not have been men- generations of artists, critics and curators there is tioned in this article, but that is by pure accident. no complete consensus on the recognition and Irreparable emptiness is caused by cessation in specific roles, status and values in numeral indi- organizing the Youth Biennale in Vršac and a pause vidual contributions. In such a chaotic art situation in work of Contemporary gallery in Pančevo. The with several options and very different circum- remaining important factors of the art system are stances, the protagonists of the scene make a occasional purchase of contemporary production choice according to some of their personal criteria, by the city purchasing committee; private collec- inclinations and interests, thus creating conditions tions are just starting (with the exception of the for the contemporary art situation – in all the en- recently established institution Museum Macura vironments including Serbia after year 2000 – it is in Novi Banovci), and the total activity of the exist- unfolded in ranges between desirable unlimited ing system of art and contemporary art practice is freedom of art on one hand and on the other hand followed by the inadequate attention of electron- its undesirable double-quick permanent expendi- ic and print media, lack of magazines and newspa- ture of many invested energies and accomplished pers that actually boils down to Remont and Art- ranges as this is ultimately distant starting range. fama, that conditions the difficulties of present Between prevailing apolitical art of individual con- activities and positions of art critique that in sig- fessions, individual privacies, subjective narratives nificant up-to-date manner yet cannot achieve to lines in the assumptions of the autonomous art articulate idea conceptually and sort problematic and rare occasional political intensification of art currents in Serbia art scene after the year 2000. attitudes created in the conditions of completely polarized and conflicted Serbian society in the un- predictable conditions of post-socialist transition, The Characteristic of Art the local art life was unfolding after the year 2000. practice After the Year 2000 Some established atmosphere of duration in the local art life that was just for the moment stopped In accordance to the principles of post-modern by the furious engagements like the one of Živko pluralism, contemporary art practices are exposed Grozdanić and his specific “ПОП Art”, the recent to the principle of legitimacy of all useful languag- violent prevention of the opening of the exhibi- es and instruments that have no privileged posi- tion “Exception/Contemporary arts scene of Pris- tions in advance, therefore today we have equal tina” in Kontekst gallery. What is it that actually treatment of manual procedures (painting, draw- here and today, creates the complete contempo- ing, sculpture) and other that stem from produc- rary art scene, target groups is it really addressing tions of static and moving technical representa- to and type of the reception is it inciting, the ideas tions (photos, films, videos). In the contemporary that appear in it, the range of values it achieves, art scene it is definitely unsustainable to hold on types of problems that are triggered and devel- to the division into classical and new media, as it oped; it is very hard and even impossible to ob- is actually the false dilemma some really like to serve all this just from a single point of view espe- insist on, for example one part of superficially in- cially for the author of these lines who finds him- formed public. Likewise, there is no division in so- self in the position of a critical outsider. One thing ciological and ideological key according to the is obvious: contemporary art in Serbia, that gath- models of mainstream and alternative. Groys state- ers new freshness by the representatives of gen- ment is very convincing when it claims that every- erations of artists formed in the renewed normal 12 circumstances after the devastating nineties of the last century, that should be specific for the undis- turbed liberate exhibition in the majority of egali- tarian art languages and media expressions, as well as their pluralistic critical recognitions, read- ing and interpretation. As the first attempt of that kind of recognition to one of the possible causes that is worthy of recognising is starting collection of the contemporary Serbian art in the ownership of the Telenor Company. When that moment comes and all the necessary conditions are ful- filled, all the research done and the criteria estab- lished, the art events in Serbia in the first decade of 21st century will become the objects of study of the same type as the valorisations performed in all former periods of its historical existence.

Ješa Denegri

Born on September 5th 1936 in Split. Earned his MA and PhD at Philosophic Faculty in Belgrade. Since 1965 till 1989 worked at Mu- seum of Contemporary Art in Belgrade. Since 1990 taught at Philo- sophic Faculty – Art History Department, in Belgrade. Co-edited magazines: Umetnost (Art), Spot (Spot), Arhitektura – Urbanizam (Architecture – Urbanism), Projekt (Project), and was editor in chief of magazine Moment.

Published works: EXAT 51 (with Z. Koščević), 1979; Abstract Art in Croatia, 1985; Themes of Serbian Art: Fifties-Nineties (in five volumes), 1993-1999; Frag- ments: Sixties-Nineties – Art in Vojvodina, 1994; Belgrade as an Inter- national Art Scene, 1998; EXAT 51 – New Tendencies: Art of Construc- tive Approach, 2000; Additions to the Other Line, 2003; Students’ Cultural Centre as an Art Scene, 2003; Survival of Art in Times of Crises, 2004; Sprehodi po slovenski moderni in postmoderni umetnosti, 2004; Additions to the Other Line 2, 2005; Art Criticism in the Second Half of the 20th Century, 2006; Reasons for the Other, Line 2007. 13 Ješa Denegri

ПОП Art Živka Grozdanića

Lako je predvideti da će biti ne malo onih koji kada galeriji Zaheta 1999, s tim što je u Grozdanićevoj se suoče sa radom Živka Grozdanića Četiri Patrijar- instalaciji došlo do zamene, u vrlo sličnom položa- ha Pavla posmatraju šest metara dugačku liniju Raše ju figure i ukupnoj prostornoj inscenaciji, lika Pape Todosijevića odmah zaključiti da je posredi neka- Jovana Pavla II s likom Patrijarha Pavla. I upravo ta kva provokacija, čak i uvreda jedne u ovom druš- tesna relacija spram Cattelanovog motiva obezbe- tvu vrlo ugledne ličnosti. No kada je reč o delima đuje Grozdanićevom radu status potpuno legiti- savremene umetnosti – a ovde je nesumnjivo reč mne umetničke operacije. Naime, ta relacija otvara o takvom delu – sudove ne treba donositi napre- u ovom slučaju pitanje načina i razloga upotreba čac i jedino na osnovu teme i prizora nekog rada. retoričkih postupaka poput citata, ponavljanja s Grozdanić će jednom prilikom reći da je „preplita- razlikama, replika, kopija, referencija, aproprijacija, nje političkih događaja u srbijanskom društvu konfiskacija, dakle odreda umetničkog govora na odredilo veličinu i karakter mojih radova“, on neće osnovama naknadnog prerađivanja postojećih kriti da njegovi radovi iz ciklusa Alegorija između modela, kao već odavno posve legitimnih strate- ostalih poseduju politički i ideološki podtekst, da gija umetničkog diskursa i umetničkog ponašanja. on sebe kao savremenog umetnika vidi u sprezi Naravno, „višak vrednosti“ ovog Grozdanićevog uloga „preduzimača-političara-realizatora-naučni- rada u odnosu na Cattelanov izvornik sastoji se u ka-filozofa-zanatlije“. Dakle, da sebe kao savreme- specifičnoj autorskoj intenciji koju Grozdanićev nog umetnika vidi i kao „političara“, ali nipošto rad poseduje, a ta intencija jeste prepuna koliko prvenstveno i isključivo, nego udruženog sa nizom višesmislenih i višeznačnih umetničkih toliko i evi- drugih profila i funkcija, budući da savremena dentnih društveno-političkih konotacija. umetnost upravo profil takvog umetnika pretpo- Principijelno istovetnu ulogu koju u funkcionisanju stavlja i zahteva. Naime, savremeni umetnik danas prethodnog Grozdanićevog rada ima relacija spram naprosto ne može a da ne bude politički svesna i Cattelanovog izvornika, u ovom poslednjem radu opredeljena osoba, ali on je ipak pre svega umet- poseduje relacija spram poznatog autorskog pro- nik, to što čini jeste umetnost, te stoga jedino kao jekta Raše Todosijevića Nijedan dan bez linije. Posre- umetnost treba da bude posmatrano i prosuđiva- di je, naime, jedna od ključnih konceptualnih teza no. Jer, ma koliko to što Grozdanić danas radi jeste u Todosijevićevom opusu, izvedena u više navrata vrlo udaljeno od njegovih umetničkih početaka, i na više lokacija u rasponu od diskretne Jedne lini- ipak valja podsetiti da se na samom izvoru Grozda- je u napuštenoj kući u italijanskom mestu Folonika nićeve umetnosti nalazi iskustvo analitičkih postu- 1976. do maksimalne javnosti u radu Dvesta hiljada paka u medijima slikarstva i crteža, a shodno tome linija za Bijenale mladih u Parizu 1977. Značenje svaka njegova kasnija Alegorija traži da bude viđe- ovog Todosijevićevog rada problematizuje pitanje na i shvaćena kao svojevrsna mentalna jezička promenljivog materijalnog statusa i kulturnog kon- operacija u internom polju konceptualizacije i re- teksta umetničkog dela izvan i unutar savremenog alizacije njegovih umetničkih zamisli. galerijsko-muzejskog institucionalnog „sistema Ovo nije prvi put da Grozdanić u svoje umetničke umetnosti“. A to se značenje ne može do utvrđiva- zamisli uvodi predstavu Patrijarha; to je jednom nja svog punog smisla razabrati jedino posmatra- već obavio u radu Meteorska kiša, prikazanog u njem nego, naprotiv, prevashodno mentalnim Beogradu i Novom Sadu septembra-novembra poimanjem karaktera savremenih umetničkih pro- 2005. U tom radu posredi je parafraza poznate dukcija. I čini se da upravo otuda proizlazi udarni skulpture/instalacije italijanskog umetnika Mauri- učinak ovog poslednjeg Grozdanićevog rada: jer, zija Cattelana La nona ora izložene u varšavskoj na takav zaključak može da nas navede fakat da 14 Meteorska kiša

Četiri patrijarha Pavla posmatraju 200.000 linija Raše Todosijevića

15 Made in China neki lik (u ovom slučaju nebitno je da li je to baš lik novosadskim Muzejom savremene likovne umet- predstavljen u Grozdanićevoj instalaciji) navodno nosti. Grozdanić inkarnira lik umetnika angažova- posmatra Todosijevićev konceptualni rad koji je nog ne jedino u sopstvenoj umetničkoj produkci- kao originalno autorsko delo drugog umetnika po- ji nego podjednako i u javnom prostoru „sistema stao integralni deo novonastale Grozdanićeve umetnosti“, on je kao umetnik takvog profila sta- umetničke tvorevine. Utisak začudnosti, na koji sao u ovdašnjim društveno-političkim uslovima moderna/savremena umetnost računa još od upo- devedesetih godina prošlog veka nastavivši tako trebe poznatog operativnog principa jukstapozici- da se ponaša i posle dvehiljadite. Sve što umetnik je međusobno krajnje udaljenih znakova i njihovih takvog profila radi jeste borba za umetnost, ali ne svojstava, doveden je ovde do vrlo jakog vizuelnog, za umentost kao neku izvanistorijsku i metafizičku još jačeg mentalnog efekta, a to je upravo onaj re- kategoriju nego upravo za umetnost kao konkret- torički postupak na koji Grozdanić u svojoj umet- nu životnu egzistencijalnu realnost i za njeno do- ničkoj strategiji obavezno računa. stojno mesto kao takve u savremenom demokrat- Ovaj poslednji Grozdanićev rad valja, dakle, sagle- skom, svetovnom i civilnom društvu. Da bi takvom davati unutar celine njegovog dosadašnjeg umet- bila kao područje pojedinačne slobode ličnosti ničkog delovanja, nipošto ga ne treba videti tek umentika, na njemu je da izgrađuje sredstva i ka- kao neki trenutni iskorak u cilju izazivanja pažnje nale socijalne komunikativnosti umetnosti, ispo- izvanumetničke javnosti. To ga, naravno, ne preči ljavajući se bez ikakvog samosuzdržavanja u iska- da se ponaša kao beskompromisni umetnik-akti- zivanju umetničkih zamisli. Svojim poslednjim ra- vista, kao što je to uostalom bio i dosad tokom cele dovima (koje sam naziva sopstvenim „ПОП Ar- svoje prisutnosti na domaćoj kulturnoj sceni. Jer tom“), Grozdanić i sebe i svoju okolinu iskušava u kada je, naime, o Grozdaniću reč nemoguće je ne traženju one krajnje granične tačke do koje je mo- prisetiti se njegovih dosadašnjih uloga u izlagačkoj guće stići u javnom dijalogu između savremenog politici vršačke Konkordije, u izdavačkim poduhva- umetnika i savremene umetnosti i njegovog/nje- tima Košave i Artcontexta, danas u rukovođenju nog konkretnog društvenog konteksta.

16 Ješa Denegri

POP* Art by Živko Grozdanić

It is rather predictable that quite a few of those ora, exhibited in Warsaw gallery Zaheta in 1999. confronted with Živko Grozdanić’s work Four Patri- Grozdanić’s installation consistently copied the archs Pavle Watch Raša Todosijević’s „A Line Six Me- Cattelan’s setup, except that he replaced the Pope tres Long“ will jump to a conclusion that there is John Paul II’s sculpture with the one representing some kind of provocation, even an insult to a per- Patriarch Pavle. This exact close relation with Cat- son that is otherwise highly respected within our telan’s motif makes Grozdanić’s version a valid ar- society. However, when it comes to the works of tistic operation. As a matter of fact, this relation modern art – and this surely is one of those – con- questions the ways of and reasons for using the clusions shouldn’t be drawn hastily and based rhetorical approaches such as quotation, altered strictly on the theme and image of the work. On an repetition, replica, copy, reference, appropriation, occasion, Grozdanić stated: „Interwoven political confiscation, i.e. the artistic vocabulary based on events in the Serbian society defined both the size subsequent adaptation of the existing models, a and character of my artworks“. He has never tried legitimate strategy of the artistic discourse and to hide the fact that the works in his Allegory opus behaviour. Of course, the „surplus value“ of include political and ideological aspects and that Grozdanić’s work, compared to Cattelan’s source, he, as a modern artist, considers himself a „contrac- can be found in the author’s specific intention, tor-politician-maker-scientist-philosopher-crafts- loaded with ambiguous and multi-signifying artis- man“. Thus (as a modern artist) he sees himself as a tic as well as social and political connotations.. „politician“, albeit by no means firstly or exclusively, rather in combination with the other mentioned Generally speaking, the relation between profiles and functions, since it is a common request Grozdanić’s previous work and Cattelan’s original in the modern art world. A modern artist simply is the same as the relation between this latest work cannot avoid being politically conscious and deter- and a well known project by Raša Todosijević, en- mined, but he is still an artist in the first place, art is titled Not a Day Without a Line. In fact, Todosijević’s what he makes, so only the artistic criteria should project was built around one of his key concepts, be employed in observing and judging his work. performed on several occasions and several loca- However remote from his artistic beginnings tions, varying from the discrete One Line in an Grozdanić’s contemporary practise may seem, it is Abandoned House in Folonica (Italy, 1976) to the worth reminding that his early paintings and draw- highly public Two Hundred Thousand Lines, exhib- ings also included an analytic approach. In conse- ited in the course of Paris Biennial in 1977. The quence, each of his Allegories should be perceived meaning of Todosijević’s work concerns the and understood as a linguistic operation in the in- changeable material status and cultural context of ternal field of conceptualisation and contextualisa- an artwork, outside and within the contemporary tion of his artistic plans. „art system“, institutionalised through galleries and museums. Such a meaning cannot be fully This is not the first time that the character of Patri- reached through observation – on the contrary, it arch Pavle is included in Grozdanić’s work; His im- must be achieved through mental adoption of the age has already appeared in Meteor Rain, an instal- character of contemporary artistic production. This lation exhibited in Beograd and Novi Sad in Sep- tember/November 2005. The installation actually * an untranslatable pun: in Serbian, the word pop paraphrased the well known sculpture/installation denotes both popular (e.g. pop art, pop music, pop by Italian artist Maurizio Cattelan, entitled La nona culture, etc.) and priest. 17 Beli meda „voli” pravoslavlje

seems to where the main effect of the particular editorial policy in Concordia gallery in Vršac, in- Grozdanić’s artwork originates: we conclude this volvement in publishing Košava and Artcontext in consequence of the fact that some character (in magazines, as well as his present leadership in the this case the identity of the character is irrelevant) Museum of Modern Art in Novi Sad. Grozdanić in- allegedly observes the Todosijević’s work, which, carnates the image of an artist not exclusively fo- being another artist’s original work, has become cused on his own artistic production, but also an integral part of the Grozdanić’s new‑made ar- participating in the public space of „art system“. He tistic creation. Astonishment, on which the mod- developed his artistic concept in the social and ern/contemporary art has been counting ever political circumstances during the 1990’s and con- since the introduction of a well known practise of tinued practising it after the year 2000. Such an juxtaposing various reciprocally remote signs and artist fights for the art, yet not the art as a meta- their notions, produces a strong visual and even physical category beyond history, but the art as a stronger mental effect. Such a rhetoric approach specific existential reality and its dignity in the is immanent in Grozdanić’s artistic strategy. modern democratic, profane and civil society. Keeping the art in the domain of artist’s personal The latest Grozdanić’s exhibit should therefore be freedom is the artist’s task, and it is up to him to understood as a part of his artistic practise, rather build the artistic mechanisms and channels of so- than a temporary diversion intended to attract the cial communication, expressing his artistic imagi- attention of non‑artistic public. Of course, this nation without any abstinence. In his latest works does not prevent him from acting like an uncom- (that he calls POP art) Grozdanić temptates both promising activist artist, the one he has been ever himself and his environment, while searching for since he had entered the local cultural scene. In the ultimate point in the public dialogue between fact, when it comes to Grozdanić, it is impossible the modern artist and modern art, as well as their to ignore his previous activities such as creation of specific social context.

18 Maja ĆiriĆ

Konstrukcije Balkana kao Drugog u savremenoj umetničkoj praksi1

Uvod znanja. Zbog nepostojanja efikasne3 regionalne kulturne politike, koja bi usmeravala kulturnu pro- Pretpostavite da želim da vas ubedim da je bavlje- dukciju, izložbe i teorijski tekstovi koji koriste Bal- nje Balkanom zapravo bavljenje krizom i da umet- kan kao meta‑označitelj su više nego dragoceni. nost ima sposobnost, ako ne rešavanja, onda bar Društveni stereotipi, predrasude i odnosi snaga učestvovanja u rešavanju te krize. U tom slučaju bi koji se obično vezuju za pojam Balkana izlaze na svakako trebalo da se pozovem na koncepcije koje površinu kroz izlagačku praksu. Izložbe koje ću su prikazane u paviljonima Grčke i Rumunije na analizirati proizvele su diskurs, u fukoovskom smi- Venecijanskom Bijenalu 2005. Prvi primer nam po- slu, (istorijski, materijalni) način na koji prepozna- kazuje da je kriza još uvek prisutna, dok drugi ilu- jemo Balkan i zasnovane su na mogućim pristupi- struje kapacitet umetnosti za hvatanje u koštac sa ma razumevanja regiona. Ovaj diskurs, kao i bilo krizom, ili bar davanje dubljeg uvida u nju. Rumun- koji drugi, regulisan je pravilima isključivanja, unu- ski paviljon je bio organizovan kao prazan prostor trašnjim sistemima kontrole i opisivanja, uslovima praćen priručnikom sa teorijskim tekstovima. Prvi pod kojima ga je moguće upotrebiti i filozofskim među tim tekstovima je naslovljen Slepa tačka temama koje zanemaruju realitet diskursa4. Sadr- nove kritičke teorije2. Instalacija Bolnica u paviljo- žaj izložbi U potrazi za Balkanijom (P. Weibel, E. nu Grčke je izvedena kao ne‑mesto. Kustos tvrdi Cufer, R. Conover; Grac, 2002), Krv i med – buduć- da bolnice i umetnost imaju mnogo toga zajednič- nost je na Balkanu (H. Szeemann; Klosternojburg, kog – koliko god prisutne u svakodnevnom životu, 2003), U gudurama Balkana – izveštaj, deo Balkan- one su istovremeno van njega. Njihovi svetovi su ske trilogije5 (R. Block; Kasel, 2003) su znakovi čije u stalnom kritičnom stanju zbog svoje nesigurno- je tumačenje formirano i dirigovano od strane ku- sti i nepredvidivosti. U tim svetovima tragedije i stosa kao posrednika. Mobilizacijom regionalnog čuda se dešavaju u istoj meri. Umetnost, kao i umetničkog sveta, kao i provociranjem brojnih zdravlje, treba štititi i tretirati na određeni način. teoretskih tekstova koji su usledili, ove izložbe nisu Stoga će predmet moje analize biti upravo kusto- bile transcendentalne već su materijalizovale kon- ska praksa (izraz izveden od latinskog glagola cu- strukcije Balkana kao nepoznatog Drugog. rare), koja u narednim primerima pretpostavlja brigu o Balkanu kao kriznom području. Povod za ovaj rad je epistemološki potencijal ku- stoskih praksi, tj. sposobnost da se uz pomoć njih prikažu različita razumevanja Balkana i stvori zna- 3] Marina Gržinić smatra da „Istok nije snabdeo nje o njemu. Kako je Balkan zapravo meta‑označi- Zapad relevantnim teorijskim i interpretativnim telj mnogih različitih i rasparčanih označitelja ovog in­strumentima za prepoznavanje posebnosti, idi- regiona, nužno je da postoji balkanska kulturna osinkrazija, raznovrsnosti i originalnosti umetnič- politika čiji bi glavni zadatak bio organizovanje tog kih projekata Istočne Evrope”. Moje je mišljenje da su teoretičari poput S. Žižeka, M. Todorove, V. Golsvorti i A. Kioseva izvršili veći uticaj na Zapadnu 1] Rad u nastajanju. percepciju regiona nego na strukturisanje regio- 2] Andrasz, Edit. 2005. Blind spot of the new critical nalne kulturne politike. theory: Notes on the theory of self colonization, 4] Osnivački subjekt, izvorna iskustva i univerzalna ed. Babias Marius; Romanian Pavilion, La Biennale medijacija. di Venezia, 51. Esposizione Internazionale d’arte. 5] Balkanska trilogija se sastojala od tri projekta: U Ostale tekstove potpisuju najznačajniji balkanski gudurama Balkana, U gradovima Balkana i Van Bal- teoretičari umetnosti. kana. 19 1. Ove izložbe nisu samo priređivane tako da prošire polje savremenog umetničkog tržišta putem uklju- Ovaj tekst će se baviti istraživanjem i analizom čivanja umetnosti sa područja Balkana, već su bile konstrukcija Drugog u savremenim umetničkim i poligoni za intervenciju i označitelji političkih sta- praksama na Balkanu. Ovo istraživanje može biti vova sa tendencijom konceptualizacije i artikula- dvojako: ono može da ispituje konstrukcije Dru- cije raznovrsnosti i kompleksnosti ovog regiona.

Biljana Đurđević, Bambi is Dead

gog u pojedinim umetničkim radovima koji veoma Istraživanjem ili strukturisanjem Balkana putem često komentarišu aktuelnu društveno‑političku ukazivanja na demarkacione linije kustoski kon- situaciju. Ipak, kako primećuje Boris Buden6, bal- cepti nam otkrivaju pozicije sa kojih je moguće kanski umetnici znaju da Balkan ne označava sud- prići ovoj oblasti. Namera ovog teksta je da mapira binsku ili kulturnu zajednicu kojoj oni nužno pri- te pozicije sa kojih je konstruisano značenje Balka- padaju, niti etiketira umetnost koju oni stvaraju. na i istraži mogućnosti za jedan obostrano zado- Balkan je pre svega tehnički termin koji opisuje voljavajući odnos prema Balkanu. Razumevanje njihov odnos prema globalnom umetničkom trži- načina na koji je Balkan konstruisan kao Drugo štu dominiranom od strane Zapada, koji postavlja kroz primere pojedinih izložbi svakako je primen- određena pravila ponašanja i prihvatljivosti. Čak i ljivo na bilo koji drugi diskurs u regionu. ako mitovi o Balkanu nisu istiniti, balkanski umet- nici moraju da se na ovaj ili onaj način poigravaju njima7 ako žele da uopšte budu tumačeni. Institu- 2. Zapad kao Univerzalno Jedno cionalno, oni bivaju smešteni u umetnički kon- tekst, ali su često prikazani u egzotičnom (politič- Život na Balkanu nikada nije bio interpoliran jed- kom) kontekstu koji neki od njih smatraju nom ideologijom, niti je regionalna realnost defi- neodgovarajućim ili čak uvredljivim. Upravo stoga nisana opšteprihvaćenim zamišljenim kodom koji ću se sada usredsrediti na pojedine inostrane ku- bi rukovodio društvenim ponašanjem subjekata. stoske koncepte konstruisane na relaciji mi/oni, Balkan kao meta‑označitelj, rasparčan i nestabilan centar/periferija, pokazujući nastanak inostranog kakav jeste, nije sposoban za integrisanje svih prikazivanja Balkana kao Drugog. ovih realnosti i njihovo vidljivo smeštanje na glo- balni nivo. Iako postoje mnogi razlozi za rasparča- nost Balkana, volela bih da naglasim neke koji su 6] Buden, Boris. 2003. Jebe lud zbunjenog, Za- već teoretski definisani od strane„ lokalnih” inte- rez, no. 107. lektualaca. 7] Iznutra posmatrano, umetnost se češće naziva nacionalnom (srpskom, hrvatskom, rumunskom, Po Mariji Todorovoj, balkanski identiteti su obliko- bu­­garskom...) nego balkanskom, iako te nacionalne umetnosti uglavnom ostaju neprimećene na ev­­ vani geopolitičkim trenutkom i stoga su kratkotraj- ropskom nivou ni i nestabilni. Budući lako esencijalizovani, ti po- 20 lovični identiteti postaju predmet intervencije ju12, priređenim tako da razreše krizu neprimetno- geopolitičkih supersila i subjekti krize. Drugim re- sti. Ipak, kako ćemo videti, ta kriza je zamenjena čima, kriza je prouzrokovana činjenicom da na krizom pogrešnih fantazama inspirisanih predra- Balkanu kao Drugom postoji inherentni autorefe- sudama i stereotipima. Kako to Marina Gržinić kon- rentni moment koji ga čini nepotpunim8. Književni ceptualizuje u svom eseju o Istočnoj Evropi, savre- teoretičar iz Sofije Aleksandar Kiosev9 tvrdi da je, u meni umetnički radovi, paradigmatični za odnosu na Balkan, ono Drugo (susedi, Evropa, ci- razumevanje regiona, postaju prazna mesta ukoli- vilizovani svet itd.) univerzalno, poseduje sve što ko nisu aktivirani fantazmičkim konstrukcijama. mi ne posedujemo, ono je sve što mi nismo. Zbog svog nepotpunog identiteta, ili nedostatka Opšte strukture, Balkanci uvek naginju nekoj iden- Slavoj Žižek, globalno afirmisan slovenački teore- tifikacionoj tački. Ovo objašnjava zašto su savre- tičar, ukazuje na eskapistički karakter Balkana kao menom balkanskom umetničkom diskursu bili Drugog10. Po njemu, jedan od balkanskih paradok- potrebni inostrani akteri13 sposobni da sačine sa je činjenica da njegovo geografsko određenje strukturu od inače razuđenih svetova savremene zapravo nikada nije bilo precizno. Balkan je negde umetnosti pojedinih zemalja. Opšte je mesto da su drugde, uvek malo dalje ka jugoistoku i, paradok- orijentalni identiteti posledica upornog pogleda salno, kada stignemo do dna Balkanskog poluostr- Jednog Opšteg Zapadnog. U tom slučaju, balkan- va, ono nam ponovo na magičan način izmakne. ski umetnici su prisiljeni da se identifikuju sa ku- Po njegovim rečima, Grčka više nije pravi deo Bal- stosovim pogledom, sa čuvenim Idealnim Ja kon- kana već kolevka zapadne civilizacije. Stalno po- struisanim kroz fantastičke narative, koje nalaže meranje granice Balkana pokazuje da nije u pita- Istočnom Evropljaninu i Balkancu kako bi trebalo nju realna geografija, nego imaginarna kulturna da izgleda i ko bi trebalo da bude14. Više nego jed- mapa. U ovom kontekstu, izložbe koje ovde anali- nom su fantazmički narativi poslužili kao mehaniz- ziram mogu biti shvaćene kao fantazmička anato- mi za ispoljavanje frustracije Balkanom. Kako je mija čija poruka zavisi od Onog ko je zamišlja. Balkan deo Evrope, izložbe prikazuju način na koji su ga kustosi smestili u okvir nepotpunog Drugog, U svojoj knjizi Izmišljanje Ruritanije, imperijalizam ili čak tamne strane zapadnog Bića, i kako su zastu- imaginacije Vesna Golsvorti analizira kako je u bri- pali njegovo ispoljavanje. Jedna od mogućnosti za tanskoj književnosti XIX veka zapadna percepcija prikazivanje malih umetničkih sredina poput srp- Balkana bila oblikovana nečim što ona naziva „na- ske ili bilo koje druge iz balkanskog regiona mogla rativna kolonizacija”11. Slična, iako donekle različi- bi se nazvati “stvaralački parazitskom”. To podrazu- ta vizuelna kolonizacija Balkana desila se počet- meva da će osnovni principi velikih umetničkih kom XXI veka. Potreba da se Balkan, regionalni sredina biti ispitivani preko malih kultura, povlače- meta‑označitelj kao slepa i nestrukturisana tačka njem linije između insajdera i autsajdera, margina učini vidljivim, urodio je poslednjih godina broj- i centra. Ovaj pristup nužno uključuje instrumen- nim izložbama na nemačkom govornom područ- talizaciju ili potčinjavanje geopolitičkom momen- tu, koji će potom ograničiti umetničke radove na predstavljanje egzotičnog, etničkog ili marginal- nog Drugog. Mnogi lokalni umetnici će morati da pristanu na deteritorijalizaciju svog izraza, nužnost

8] Gržinić, Marina. 2005. Estetika kibersvijeta i učin- ci derelalizacije. Mi2, Zagreb, www.mi2.hr 12] „Čak i nakon najnecivilizovanijeg nasilja koje 9] Kiossev, Alexander. Notes on Self–Colonizi­ ng­ cul- su Nemci sprovodili tokom Holokausta, Evropa tures, Bulgariaavangard, exc.cat (Co­logne:­ nastavlja da posmatra Balkan kao varvarski i rato- SalonVerlag,1998) objavljeno u After the Wall: Art boran. To je ono na šta reagujem i što pokušavam and culture in Post-Communist Europe.exh.cat. Mo- da analiziram i izložim: koji mehanizam navodi derna Museet, (Stockholm, 1999). strane 114-117 ljude da lagodno zaboravljaju i eksternalizuju 10] Žižek, Slavoj, 1998. The Specter of Balkan, sopstvene probleme na Balkan?” Marija Todorova The Journal of the International Institute, Uni- u jednom intervjuu http://clasnews.clas.ufl.edu/ versity of Michigan news/clasnotes/9610/Todorova.html 11] Golsvorti sugeriše da je ispitivanje britanske 13] Ovo su osobine onoga što Lakan naziva Ve- „imaginativne” kolonizacije Balkana važan prilog liko Drugo u teoretskoj psihoanalizi. izučavanju “marginalnih i neodređenih oblasti u 14] Više o fantazmičkom Drugom u: Gržinic, Ma- svetu, pribežištima neokolonijalnih oblika pona- rina. 2005. Estetika kibersvijeta i učinci derelali- šanja koji drugde više nisu prihvatljivi” zacije. Mi2. Zagreb. strane 24 i 27. 21 političke perspektive i/ili generalizaciju individual- lazi u stalnom procesu nastajanja19 kroz izložbe nog iskustva15. Svi ovi aspekti mogu se pronaći u savremene umetnosti koje ustanovljuju vlastite radovima umetnika koji su učestvovali na regional- zamišljene kartografije. Balkan uredno služi kao nim izložbama poput U potrazi za Balkanijom neka vrsta platna na koje Zapadna Evropa projek- (Grac, 2002), Krv i med – budućnost je na Balkanu tuje sopstvene potisnute ideološke antagonizme (Klosternojburg/Beč, 2003) i U gudurama Balkana stvaranjem niza fantazmičnih slika ove oblasti to- (Kasel, 2003), u okviru kojih je Balkan korišćen kao kom poslednjih sto godina. Većina do sada pome- meta‑označitelj. Više puta su predstavnici balkan- nutih teoretičara smatra da ovi antagonizmi prika- ske umetničke scene, poput Bojane Pejić, postav- zuju sopstvenu materijalnu efikasnost i pomažu pri ljali pitanje zašto aktivno i svojevoljno učestvuje- odlučivanju o vojnim, ekonomskim i političkim ak- mo u igrama moći ukorenjenim u romansu između cijama istinskog istorijskog aktera20. Mnogo puta centra i periferije umesto da trajno prepoznamo do sada pomenuto je da nas, kako bi se reproduko- sebe kao bespomoćne objekte koje ste proizveli vao, centar u isto vreme i prisvaja i postavlja kao vi, moćni subjekti?16 Nedefinisano područje, nedo- Druge21. Vizuelna kolonizacija je najverovatnije za- statak lokalnih aktera sposobnih da urede raspar- snovana na tim projekcijama. Primeri izložbi koje čan i nestabilan simbolički niz, nestalni identitet ću ovde predstaviti omogućiće mapiranje različitih koji ima večitu potrebu za Onim Zapadnim koje će vrsta demarkacione linije između Zapada kao Jed- ga definisati i prepoznati: sve su to razlozi za naše nog i Balkana kao Drugog. Vizuelizacija Balkana je učestvovanje. Ali najvažniji razlog leži u potrebi da potpomognuta ekonomskim izvorima zapadnoe- postanemo vidljivi, da budemo priznati. Čak i kada vropskih zemalja i ta mogućnost je oberučke pri- to nije moguće, imaginarna anatomija pruža uvid hvaćena od strane priznatih kustosa tokom u balkanske potisnute traume i želje: traume po- 2002‑2003. Svi su bili sa Zapada (Austrija, Nemačka, novljenog postojanja kao Drugog i želje za posto- SAD, Švajcarska, Slovenija) i preko njih je Zapad janjem u obliku samosvojnog entiteta. diktirao uslove pod kojima je Balkan mogao biti prihvaćen. Pozicija Jednog je omogućila Zapadu da bude zacrtan kao izvor znanja i istine koji određuje 3. Nastajanje Balkana kao Drugog norme za percepciju Balkana22. Stoga je namera kustosa bila da osmisle strukturu zapadnog odnosa Zapad kao Jedno nema nikakve veze sa procesom prema području na koje se odnosi pojam slepe tač- nastajanja, on jednostavno postoji i njegovo činje- ke sa početka ovog teksta. nje ga iznova afirmiše kroz Drugo17. Ako postavimo Jedno naspram Drugog, jasno je da je Jednom po- Izložbu U potrazi za Balkanijom23 su priredili Peter trebno Drugo, pošto mu je potrebna demarkaciona Vajbel (Nova galerija), Rodžer Konover (MIT press) linija. Bez te demarkacione linije ne postoji ni od- i Eda Čufer (pozorišni kritičar iz Slovenije) u austrij- nos između Jednog i Drugog i stoga je Drugo uvek skom gradu Gracu 2002. godine. Hronološki, to je negativ Jednog. Ponekad je ova demarkaciona li- bila prva među izložbama koje su otvorile put ka nija radikalno doživljena kao linija između vas, slo- novim područjima umetničkog sveta. Uvodeći na- bodoljubive zapadne civilizacije i nas, necivilizova- ziv Balkanija, ponikao iz imperijalističkih strategija nih Neprijatelja sa Istoka18. Posmatramo li Balkan zapadnoevropskih zemalja među kojima nekadaš- kao Drugo u Žižekovom eskapističkom smislu ubr- nje Austrougarsko carstvo zauzima značajno me- zo ćemo primetiti da se on, umesto da postoji, na-

19] Više o ovoj teoriji u: Gržinić, Marina. 2005. Este- tika kibersvijeta i učinci derelalizacije. strane 59-69, Mi2, Zagreb, www.mi2.hr. 20] Žižek, Slavoj. 1998. The Spectre of Balkan, The 15] G. Deleuze and F. Guattari: Kafka, 1986. Toward Journal of the International Institute, University of a Minor Literature, Theory and History of Literatu- Michigan. ree, Vol. 30, London/Minneapolis: Minnesota Press. 21] Ditchev, Ivaylo. The eros of identity. izložba Krv 16] Pejić, Bojana. The center-periphery paradigm i med, ibid. once again. edited by Marius Babias; Romanian 22] Pejić Bojana, ibid. Pavilion, La Biennale di Venezia, 51. Esposizione 23] Publikacije koje prate ovu izložbu: In Search of Internazionale d’arte. The other texts were signed Balkania: A User’s Manual, Balkania: A Non-Standard by most prominent Balkan art theoreticians. Cultural Dictionary, ed. Roger Conover and Eda Ču- 17] Balkan fer, i Balkan as Metaphor: Between Globalization 18] Petrešin Nataša, 2005. Location of the problem: and Fragmentation. 2003. edited by Dušan I. Bjelić Always a bit more to the South East. and Obrad Savić: MIT Press.Cambridge/Mass. 22 sto, ova izložba je bila više od zamišljenog entiteta, „simbolične geografije” kako su kustosi naveli u svom obrazloženju. Namera ove izložbe je bila da prikaže savremenu umetnost balkanskih zemalja kao heterogeno područje raznovrsnih umetničkih i kulturnih pozadina, generacija i izražajnih medija. U skladu sa naslovom, većina kritičara je primetila da je izložba osmišljena tako da pothrani sve stere- otipe i predrasude o Balkanu i da je sačinjena od neizbežnih konstrukata i klišea24. Imperijalizam imaginacije je postignut na dva nivoa. Iako je veći- na balkanskih umetnika svestrana i stvara kako egzotična tako i progresivna i univerzalna dela, ku- stosi su izabrali ona egzotična, čak i kada ona nisu najbolje reprezentovala same umetnike. Takođe, umesto da slede muzejsku logiku bele kocke koja bi omogućila autonomiju izloženih radova, kustosi su napravili postavku kao kompleksnu metaforu izvedenih iz uličnih sudara i znanju o Balkanu za- snovanom na tržišnim mogućnostima. Kao rezultat, izbor i postavka radova bili su zasnovani divljoj, neorganizovanoj, šarenoj i romantičnoj estetici ko- jom je podržan kliše o balkanskoj šarenici.

Teoretski posmatrano, ova izložba je zasnovana na metafizičkoj matrici tradicionalnog modernistič- kog egzoticizma. Ona je primer pronalaženja au- tentičnog Drugog koje se razlikuje od jednoobra- zne ili, grubo rečeno, birokratizovane evropske umetnosti, odnosno kulture. Balkanski „pačvork”, sa naglašenom divljom, neurednom, živopisnom i romantičnom estetikom25 koja pothranjuje njegov varvarski imidž26.

Druga izložba, naslovljena Krv i med – budućnost Emir Kusturica, Bila jednom jedna zemlja je na Balkanu, je održana 2003. godine u Kloster- egzotici, već o buđenju zapadnog senzibiliteta za nojburgu nadomak Beča. Ovde se pak nije radilo o balkansko kulturno podneblje. Harald Zeman je plasirao vlastito fantazmičko viđenje regiona i po- kušao da u njega uključi idealno društvo čiji ima- 24] Kritičari poput Nataše Petrešin su se zadržali na ginarni svetovi sugerišu drugačiju istoriju ove teorijskoj analizi, dok je Uroš Đurić, srpski umetnik oblasti. Naslov evocira polove gneva i nežnosti, koji je učestvovao u većini ovih izložbi bio ljubazan da bude moj informant prvog stepena. katastrofe i idile nečega duboko ljudskog i unver- 25] Eva Kernbauer smatra ovu izložbu virtuelnim zalnog. Iz ove perspektive bi trebalo tumačiti pod- susretom sa simboličkom geografijom koja će naslov Budućnost je na Balkanu. On ukazuje ne obeležiti XXI vek: gde se Istok susreće sa Zapadom, samo na Jugoistočnu Evropu koja još nije dostigla gde Okcident postaje Orijent i gde nijedna od sta- rih linija i mitova o identitetu, Biću, naciji i ostalom ne može da opstane. Zaista, ako ova izložba prika- 26] Povodom ove izložbe MIT je objavio Rečnik zuje ikakvu sliku različitu od prethodnih zapadnih balkanske kulture kako bi bili pojašnjeni pojmovi viđenja Balkana, onda je to ona u kojoj u Evropi ni poput ćevapa, zlatnih zuba itd. Šuvaković, Miško. nema ničeg osim Balkana. Balkanija nije svet za 2005. Bio-Political Interpretation of Open Poten- sebe, već ogledalo svih svetova. Prepoznati Bal- tiality of Balkan Art or A Temporary Realisation of kan znači prepoznati osobine i sindrome od kojih European Identities Through Concrete Curatorial su gradovi, ratovi, eksperimenti, ideje i vizije sači- Tactics; What Is to Be Done with ‘Balkan Art’; Ro- njeni. http://www.artnet.com/magazine/features/ bert Alagjozovski, Barbara Borčić and Urška Jur- kernbauerSCCA-Ljubljana. man (editors); Center for Contemporary Arts. 23 multietničko jedinstvo, nego i na sve veze među Ipak, osmišljavajući ovu izložbu, Nemac Rene Blok ovim multilingvalnim autenticitetima i religijama, je imao mogućnost da uči na greškama svojih većinama i manjinama, kroz umetnost27. Iako je prethodnika. S obzirom na moju nameru da obra- uspešno izbegao egzotiku, kritičari poput Nataše dim moguće umetničke pristupe Balkanu kao Petrešin primećuju da je Zeman osmislio ovu izlož- evropskom Divljem Istoku i imajući u vidu činjeni- bu kao spektakl i traumu. U kontekstu Žižekovih cu da je Blok bio direktno inspirisan radom Karla stavova koje sam pominjala spektakl i trauma su Maja, izuzetno je važno razumeti neke prethodne jedan od mogućih ključeva za mapiranje fantaz- radove ovog pisca. Karl Maj je bio komercijalno mičke anatomije Balkana. Sa druge strane, kao i najuspešniji nemački pisac u XIX veku i njegove sve druge izložbe o Balkanu, i ova nameće pitanje knjige nam pružaju sjajan uvid u nemačku per- da li je iko ovlašćen da govori o onima koji su tra- spektivu pri posmatranju drugih zemalja. Njegova umatizovani zato što ne pripadaju Jednom, o oni- najčuvenija knjiga Vinetu je avanturistički roman ma koji nemaju privilegije Zapada28. Uprkos činje- o prijateljstvu glavnog junaka, američkog Indijan- nici da je Zemanov koncept naginjao iznalaženju ca, i njegovog prijatelja, belca koji se našao na univerzalnih vrednosti, njegova izložba je otpoče- Divljem Zapadu. On oslikava veru u urođenu „do- la radovima poput onog Marine Abramović na- brotu” ljudskog roda koja je stalno ugrožena po- slovljenog Tomasove usne, inspirisanog balkan- stojanjem zlonamernih neprijatelja. Vinetu u neku skim ideologijama. Ako se osvrnemo na ovaj ruku simbolizuje fantazam o drugim teritorijama koncept iz drugog ugla, uvidećemo da postoje kao što je Divlji Zapad i romantičnu čežnju za razlozi da se poveruje kako je fantazija često za- istinskim prijateljstvom među ljudima različitog snovana na činjenicama. Na samom ulazu u izlož- porekla. U tom kontekstu nije slučajno to što je na beni prostor29 bila je izložena kočija u kojoj su osnovu ovog romana snimljeno nekoliko filmova 1914. godine posmrtni ostaci Franca Ferdinanda, ubijenog u Sarajevu, proneti kroz Beč. Izlaganje Dragoljub Raša Todosijević, Gott Liebt die Serben istorijskog artefakta koji referiše na Sarajevski atentat kao povod za I svetski rat u okviru jedne izložbe savremene umetnosti nije samo fantazmič- ka kustoska perspektiva Balkana, to je i ozbiljan politički stav koji povlači jasnu demarkacionu lini- ju između Zapada kao Jednog i Balkana kao var- varskog, traumatičnog30 Drugog.

Izložba U gudurama Balkana, održana 2003. godi- ne u Kaselu (Nemačka), nudi još jedan pogled na nastanjanje Balkana kao Drugog i direktno je in- spirisana knjigom Karla Maja Orijentalna Odiseja. Taj roman pothranjuje sve predrasude vezane za ovaj region krajem XIX veka, koje su nagovestile mnoge probleme prisutne do današnjih dana31.

27] Blood and Honey – Future is in the Balkans, 2003, catalogue, Edition Sammlung Essl, Vienna 2003. 28] Citat Linde Alklof u: Pejić, Bojana, ibid. 29] Kao i fotografija na početku štampanog ka- taloga. 30] neki autori poput E. Kosove i V. Kortuna smatra- ju su da je za osudu to što je ova komunikacija ot- počela post bellum, u posttraumatskim godinama. 31] „Roman U gudurama Balkana i njegov nasta- vak naslovljen U zemlji Skipetara (čija se radnja od- vija na teritoriji današnje Albanije) bave se konflik- tima koji se protežu do današnjih dana, i njihovom pozadinom”. Iz intervjua sa kustosom: Block, Rene. Heinrich, Barbara (ed). 2003. In den schluchten des Balkans, Kunsthalle Fridericianum, Kassel. 24 u kojima su planine nekadašnje Jugoslavije dubli- rale Divlji Zapad. Nesumnjivom referencom na Karla Maja koji je svoje knjige nazivao putničkim avanturama, i koje su očigledno bile inspirisane odnosom Jedno – Drugo, Rene Blok je svojoj izlož- bi dodao podnaslov Izveštaj, ne stavljajući sebe već same balkanske umetnike u položaj izveštača. Blok nije iskoristio Balkan kao zeca iz šešira, kao što su to činili Maj i drugi, i svesno se uzdržao od svih interpretacija koje bi ukazivale na geopolitič- ke i kulturne pozicije, ne postavljajući čvrstu de- markacionu liniju. Po rečima kustosa, U gudurama Balkana nije bila geopolitička izložba postavljena da služi u neumetničke svrhe. U poređenju sa dru- gim izložbama, ovaj koncept je bio dramatično drugačiji. Njegova namera je bila da uključi lokal- ne kustose i tako stvori mogućnost da stvari budu subREAL, sagledane iz lokalne perspektive. Kako on kaže, Draculaland sam naslov dovoljno objašnjava zapadnjački po- gled na Balkan: divlji predeli, divlji stanovnici, par- Kako bih opisala različite pristupe Balkanu upore- tizani. Svestan teškoća pri razumevanju Balkana diću posmrtnu kočiju Franca Ferdinanda, koja je kao konglomerata različitih etničkih i religijskih poslužila kao okvir Zemanove izložbe, sa onim što grupa, Blok je priredio ovu izložbu tako da uzne- je uokvirilo izložbu Renea Bloka. Umesto posmrtne miri ljude. Kustos je izbegao klasifikovanje i povla- kočije kao simbola atentata i traume prouzrokova- čenje granica, želeći da onemogući tumačenje ne balkanskim Drugim, na ulazu u izložbeni pro- izložbe kao još jednog Zapandnog uplitanja. stor Blokove postavke je stajala jedna fotografija. Umesto klasifikovanja, što je bio slučaj sa prethod- Bila je to fotografija spomen‑obeležja32 posveće- nim izložbama, Blok je imao nameru da otvori nog Gavrilu Principu, Srbinu, anarhisti koji je izvr- nove perspektive, stvori mogućnost za priželjki- šio atentat na nadvojvodu Franca Ferdinanda. Pi- vanu komunikaciju sa Drugima i promoviše komu- tajući se da li je Gavrilo Princip bio terorista ili nikaciju među umetnicima i regionima. borac za slobodu, Blok koristi drugačiji pristup Bal- kanu, kako on naglašava – pristup iz unutrašnjosti Uprkos činjenici da je je i ova izložba bila zasnova- samog regiona. U ovom drugom primeru Drugo na na zapadnjačkoj fikciji, ona je definisana boga- nije negativ Jednog, ono mu nije suprotstavljeno tijim dijaloškim pristupom i drugačijom translaci- već postoji paralelno sa njim. Stoga izložbu U gu- jom u odnosu na prethodne dve. Bila je to durama Balkana možemo tumačiti kao primer dru- manifestacija regionalizma u vidu diskusije među gačijeg pogleda na Balkan33. ravnopravnim i neravnopravnim partnerima koji su se nadmetali i sarađivali putem jezika, istorije i mo- gućih budućnosti. Neki akteri (Erden Kosova, Vasif Kortun) su čak primetili pozitivne posledice poput ubrzavanja transverzalnih energija među učesnici- ma i razgovora koji je usledio među njima. Posle ove izložbe usledili su mnogi projekti koji nisu bili izvedeni pod supervizijom Fridricianuma, već su bili posebno prilagođeni lokalnim sredinama i že- 32] Spomenik je prikazivao otiske cipela Gavrila Principa i nalazio se u Sarajevu, na mestu odakle je ljama. Više nego prethodne dve, ova izložba je po- on pucao na Franca Ferdinanda. To je bilo skromno kazala potencijal za dekonstrukciju imperijalističkih obeležje, rad vajara Voja Dimitrijevića, primer rane modernističkih modela zasnovanih na trajnim rela- istočnoevropske konceptualne umetnosti koji je cijama hegemonističkog centra i traumatizovane i uništen tokom rata u Bosni krajem XX veka. pasivne periferije. To je primer upravo one vrste 33] Da je ova izložba donela neke promene po- tvrđuje izjava predstavnika Turske Vasifa Kor- dekonstrukcije koja je dovela do formiranja impe- tuna da je to bilo više od izložbe: započeta je rijalnog modela tranzitne integracije hibridnih od- naglašena i izuzetno pozitivna diskusija između nosa u globalnu postavku novog sveta. različitih periferija. 25 4. Od Drugog ka još jednom ustanova36, koja je već duže vreme promovisala alternativne oblike mišljenja i prakse, pokazala je Postoje li druge mogućnosti za artikulisanje bal- sposobnost da obezbedi prostor i ekonomske kanske savremene umetnosti? Moj odgovor na to izvore za paradigme koje su strane zapadnoj per- pitanje će se zasnivati na teoriji koju je razvila slo- spektivi. Rotor se pokazao otvorenim za tumačenje venačka teoretičarka Marina Gržinić34. Umesto de- Drugog kao Još Jednog, dozvolivši mu da postoji markacione linije između Zapada i Balkana, koja kao početna tačka umesto da bude strukturisan podrazumeva da je Drugo čist negativ Jednog, ova kao Drugi, negativni pol u okviru para. Suprotno autorka sugeriše promenu perspektive. Podsećam učestvovanju u nekim institucionalnim projektima, da je izložba U potrazi za Balkanijom bila zasnova- nacionalni akteri u okviru Balkanskog konzulata na na fikciji i referisala na Balkan kao egzotično nisu morali da se smeštaju u šeme geopolitičkih Drugo. Naredna izložba, Krv i med, je bila rezultat sponzora i uklapaju u opšte ključne reči, norme i imperijalizma fikcije i, iako je autor uspešno izbe- narative. Ovaj pristup je balkanskim kustosima gao egzotičnu perspektivu, fantazije pomešane sa omogućio da sprovode svoju misiju koristeći Kon- izvesnim političkim stavovima su ponovo uspešno zulat kao laboratoriju za ispitivanje onoga što bi u marginalizovali region. Treća postavka, U gudura- drugim okolnostima bio nemoguć zadatak repre- ma Balkana, je bila najbliža tome da uvede Balkan zentovanja nedostajuće reprezentacije37. Kako su ne kao Drugo već kao Još Jedno i ilustruje upravo oni to postavili, osnovni zadatak nije bio pokaziva- onu vrstu promene koju sugeriše Marina Gržinić. nje i prenošenje onoga što se „zaista” dešavalo i Umesto Balkana konstruisanog na fikciji, koncept dešava u jednoj od zona koje su gotovo nevidljive Renea Bloka omogućuje da Balkan postoji paralel- na međunarodnoj mapi savremene umetnosti, iza no sa Zapadom, ne kao Drugo u odnosu na Jedno. „medijskog zida” oslikanog prizorima nasilja i eg- Referisanje na Balkan ne kao na Drugo već kao na zotike koji se pripisuju lokalnim „Balkancima”. Nji- Još Jedno predstavlja potpuno novu umetničku i hova namera, koja je prerasla u zahtev, bila je da kulturnu strategiju, u cilju sučeljavanja realnosti i se promeni kontekst mehanizama vizuelne repre- njenog fantazmičkog suplementa. Ovaj pristup je zentacije fantazmičke balkanske kulturne zone. koristan ukoliko želimo da osporimo fantazmičke konstrukcije Balkana kao Drugog, koje su korišćene u imperijalističke svrhe i koje često nisu imale mno- 5. Od traume nastajanja go toga zajedničkog sa realnom slikom regiona. kao Drugog do žudnje za postojanjem kao Univerzalno Savršen primer paralelnog postojanja sa Jednim, namesto stalnog nastajanja u vidu Drugog kao Izložbe koje su konceptualizovali inostrani kustosi njegove replike35 je Balkanski konzulat, projekat bile su uglavnom fikcionalizovane oko konstitutiv- koji je započet u Gracu samo dve nedelje po otva- ne balkanske traume, traume odsustva stalnog ranju izložbe U potrazi za Balkanijom. Tokom go- identiteta i Univerzalnosti. Pre zaključka moram da dinu ipo dana asocijacija za savremenu umetnost napomenem da ne bi trebalo isključiti mogućnost služila je kao „balkanski konzulat” i tokom da je sam Balkan igrao na kartu svoje partikularno- cele 2003. godine, u kojoj je Grac bio Kulturna pre- sti: najveći broj lokalnih umetnika koristio je Balkan stonica Evrope, kustosi iz Jugoistočne Evrope bili kao meta‑označitelj samo onda kada nije mogao u mogućnosti da organizuju programe iz svoje drugačije da obezbedi inostrani plasman svog rada. perspektive. Rotor je ugostio balkanske promotere Neki su čak oblikovali svoje nove radove tako da kulture koji su bili glavni pokretači razvoja savre- ispune zahteve zapadnih kustosa za egzotikom38. mene umetnosti u svojim sredinama i omogućio Sa druge strane, ti kustosi su ukazivali na ozbiljne im da se bave antikolonizacijskom praksom. Ova posledice balkanske različitosti. Demarkacione lini-

36] Margareta Makovec Anton Lederer su osni- 34] Vidi: Zupančić, Alenka, Nietzsche in nic, Filo- vači Rotora. zofski Vestnik (Acta Philosophica), FI ZRC SAZU, 37] Iz teksta Stevana Vukovića povodom izlož- Ljubljana, 3/2000. be BALKAN KONSULAT PROUDLY PRESENTS: 35] Marina Gržinić citira Alenku Župančić. Grži- BELGRAD. Rotor, Graz. nić, Marina. 2005. Estetika kibersvijeta i učinci 38] Kao što su to činili Sener Özmen i Erkan Öz- derealizacije. Mi2, Zagreb, www.mi2.hr gen, Šejla Kamerić, Cosmin Gradinaru. 26 Sislej Xhafa

je njihovih koncepata su ukazivale lokalnim umet- u ideju i karakter nekadašnje Jugoslavije postala je ničkim akterima na traume kroz koje će Balkan svetlosna instalacija40. Iako je namera ove instala- morati da prođe ukoliko želi da živi životom druga- cije bila da ”baci svetlo” na postojanje ove trauma- čijim od onog dirigovanog zapadnim fikcijama. tične zemlje, posmatrači su bili prinuđeni da skre- Otuđenje regiona u inostranim kustoskim koncep- ću pogled. Suprotno zamagljenoj fasadi, domaći tima nam je pokazalo kako se na Balkan gleda iz kustosi su odlučili da izlože čuvene modernističke inostranstva: traumatizovani egzotični entitet bez umetničke radove i postavku u untrašnjosti nacio- odgovarajuće metastrukture i zamišljenog poretka. nalnog paviljona su nazvali Međunarodna izložba To nam je pomoglo u razumevanju sopstvenih gre- savremene umetnosti – Muzej savremene umet- šaka pri reprezentovanju. Bili smo traumatizovani nosti Alfreda Bara, Njujork41. zato što nismo bili univerzalni i naše posebnosti su često definisane kao negativne. Budući da smo to- liko traumatizovani, kuda bi naše želje mogle da nas odvedu? Da li postajanje subjektom znači da ćemo trpeti posledice autokolonizacije? 40] Tomić, Milica. Nacionalni paviljon, 2003: svetlosna instalacija na fasadi zgrade, površine 160m2. Na fasadu Paviljona Jugoslavija je na jed- Autokolonizacija je svesno nagoveštena u nacio- nakoj međusobnoj udaljenosti postavljeno 400 39 nalnom paviljonu Jugoslavije tokom Venecijan- reflektorskih sijalica koje su pokrivale površinu. Si- skog bijenala 2003. Fasada ove zgrade, nezaobila- jalice su bile povezane tako da simultano proizvo- znog simboličkog čvorišta svih fantazama uloženih de bljeskove u pravilnim vremenskim razmacima. Zaslepljenost koja je posledica svakog bljeska kratkotrajno “ oštećuje” posmatračev vid. Ovo pri- vremeno slepilo traje dok se čulo vida ne oporavi, što ne dozvoljava oku da vidi objekat/paviljon. 39] To je bila poslednja godina u kojoj je naziv http://www.msub.org.yu/venice/NP.html „Jugoslavija” upotrebljavan na međunarodnoj 41] Vidi http://www.msub.org.yu/venice/IEo- političkoj sceni. MA.html 27 Kakva je budućnost balkanske umetnosti?

Najvažnije prošlogodišnje izložbe u svetu srpske savremene umetnosti donele su značajan pomak. Drugačije rečeno, traume stalnog nastajanja kao Drugog ili kao kopije Jednog sada su zamenjene naporom da se postane nezavisni subjekt u svetu savremene umetnosti. Umesto geopolitičkih ozna- čitelja, srpska umetnost se okrenula ka pronalaže- nju univerzalnih vrednosti u globalizovanom svetu bez hijerarhije. Izložba Situirano sopstvo: zbunjeno, saosećajno, konfliktno42 prikazala je raznovrstan izbor radova iz evropskih zemalja, zasnovanih na ličnim iskustvima, insistirajući na aktivnom razma- tranju značenja i ispitivanju odnosa unutar Bića, bivanja unutar sveta i bivanja među drugima.

Međunarodni Oktobarski salon43, koji je predstavio renomirane srpske i zapadne umetnike je bio osmi- šljen kao čvorište sposobno da pomiri konfliktne stavove koji nastaju iz odnosa mi/oni, centar/perife- rija, civilizovano/varvarsko. Način na koji je ova izlož- ba umrežena omogućio je drugačije pozicioniranje scene i njeno ravnopravnije uključivanje u svet.

Danas se predstavnici balkanske umetnosti trude da strukturišu svet umetnosti na osnovama zapad- nog umetničkog tržišta, kao jednog od mogućih načina za primenu unverzalnih struktura. Ovaj pro- ces bi se mogao protumačiti kao autokolonizacija, neka vrsta pristajanja na kolonizaciju Balkanske autentičnosti putem inostranih modela. Iako mož- Maja Ćirić da vodi homogenizaciji reprezentovanja regiona kroz bavljenje univerzalnim umesto geopolitičkim (Beograd, 1977.) je kustoskinja i savetnica u domenu umetnosti. temama, stvaranje organizovane i jake umetničke Diplomirala je istoriju umetnosti na Filozofskom fakultetu u Beogra- scene moglo bi da ima neke pozitivne implikacije. du, a poslediplomske studije iz oblasti kulture i roda završila je na Možda bi balkanska umetnost mogla da se oslo- AAOM-u. Pooseduje diplomu interdisciplinarnog poslediplomskog bodi nužnosti da bude predstavljena na međuna- programa Transit Spaces, Bauhaus, Dessau, Nemačka. rodnim izložbama samo pod uslovom da je njena Njena praksa ogleda se u nezavisnim prjektima: Becoming Minor, različitost kontrolisana (spolja). KCB 2005; Offbeat:Pogledaj i vidi nasilje nad ženama, SKC, Beograd 2007; Beyond Theory, WUK, Beč, Austrija i Sushi Visual Arts and Per- formance Space, San Diego, California 2008:, Beware the Aftereffects, Infernosque, Berlin, 2008. Radi i na institucionalnim projektima poput srpskog paviljona na 52. Bijenalu u Veneciji, ali festivala novih vizuelnih tendencija,Dom Omladine 2007. Sarađivala je sa Remon- tom na 46. Oktobarskom salonu 2005. i projektu Mobilni Studio 2006. Radi kao savetnica u domenu umetnosti u Dubaiu, UAE, a sa- rađivala je i sa Zendai Moma Muzejom, Šangaj, Kina. Kustoskom praksom se koristi da bi otvorila mogućnost za promišlja- 42] Priredio srpski kustos Branko Dimitrijević. nje društvenih, političkih i estetskih transformacija. Njena polja in- 2005. Muzej savremene umetnosti Beograd teresovanja su društvena teorija i novomedijske prakse. Dobitinik je 43] Priredila srpska kustoskinja Darka Radosav- nagrade Lazar Trifunović za umetničku kritiku, kao i ArtsLink Inde- ljević. 2005. Kulturni centar Beograda pendent Projects Award. 28 Maja ĆiriĆ

Constructions of the Balkans as the Other in Contemporary Art Practices1

Introduction fragmented signifiers of the region, there would have to exist the Balkan cultural policy whose main Suppose I would like to convince you that dealing tasks would be to organize that knowledge. Due with the Balkans means dealing with the crisis and to the lack of effective2 regional cultural policy that that art is capable of, if not healing, than at least would shape cultural products in advance, exhibi- dealing with that crisis. Then I should certainly re- tions or theoretical texts that have the Balkans as fer to the concepts of the Greek and Romanian their meta – signifier are more than valuable. pavilion at the last year’s globally important con- Through the exhibiting practice of contemporary temporary art Biennale of Venice. First example world of art the social stereotypes, prejudices and will show us that the crisis is still present, while the power relations that exist in a particular way with- other illustrates art’s capacity to cope with or give in as well as about the Balkans are signified, visual- us insight in that crisis. The Romanian pavilion was ized and brought to the surface. The exhibitions I conceived as an empty space that was followed by am about the analyze produced a discourse, in the handbook of theoretical texts. At the begin- Foucault’s terms, the (historical, material) way we ning there was the Text entitled the blind spot of know the Balkans and they are constituted by pos- the new critical theory1. The installation Hospital in sible approaches to the region. This discourse, just the Greek pavilion was conceived as a non-place. as any other is regulated by rules of exclusion, by The curator stated that Hospitals and the art world internal systems of control and delineation, by have many things in common, although they are conditions under which discourses can be em- a part of everyday life, they are at the same time ployed, and by philosophical themes which elude apart from it. Their contained worlds are in perma- the reality of discourse3. The content of the exhibi- nent critical state because of their insecurity and tions In Search of Balkania, P. Weibl, E. Cufer, R. unpredictability. In all of these worlds the trage- Conover, Graz 2002; Blood and Honey – Futures dies and miracles occur in equal proportion. Art in the Balkans, H. Szeemann, Klosterneuburg, and health all have to be protected and treated in 2003; In the Gorges of the Balkans – A Report, a a particular way. This is the reason why the curato- part of the “Balkan Trilogy”4 R. Block, Kassel, rial practice (originating from the Latin word 2003) are signs whose reading has been formed, curare), that in the following examples presumes taking care of the Balkans as the crisis area, will be the object of my analysis. 2] Grzinić Marina thinks that “the East has not provided the West with the relevant theoreti- The reasons for this paper are epistemic and con- cal and interpretative instruments to recognize cern different structuring of the knowledge and the uniqueness, idiosyncrasies, diversity and originality of artistic projects in Eastern Eu- comprehension of the Balkans. Given that the Bal- rope”. My opinion is that the theoreticians such kans are a meta-signifier for many different and as S.Žižek, M. Todorova, V.Goldsworthy, Kiossev influenced more the Western perception of the region, than they were considered for the struc- 1] Andrasz, Edit. 2005. Blind spot of the new turing of the regional cultural policy critical theory: Notes on the theory of self colo- 3] The founding subject, originating experien- nization. ed. Babias Marius.; Romanian Pavilion, ce, and universal mediation La Biennale di Venezia, 51. Esposizione Inter- 4] Balkan trilogy consisted of three projects: In nazionale d’arte. The other texts were signed the gorges of the Balkans, In the cities of the Bal- by most prominent Balkan art theoreticians kans and Beyond the Balkans 29 conducted through curators as mediating factors. play6 with them in one way or another if they want By mobilizing the art world of the region, as well to be interpreted at all. They are institutionally el- as by provoking numerous theoretical texts that evated into an art context, although they are often followed them, these exhibitions were not tran- presented in an exotic context that some of them scendental, but are the materialization of the con- find inappropriate or even offensive. That is -ex structions of the Balkans as the unknown Other. actly why I will now focus on the particular foreign curatorial concepts constructed around the rela- tion us/them, in a way that they show us how the 1. Balkans were becoming as the Other from abroad. In order to give a structure to my analysis the focal point of this paper will be the research of the con- These exhibitions were not only curated to expand structions of the Other in the Balkan contempo- the field of contemporary art market by integrat- rary artistic practices. This research could be two- ing the art from the Balkan region, but were also

Erzen Sokoli, Transition

fold: it could examine the constructions of the sites for intervention and signifiers of political Other in the particular works of art that often pro- statements that tended to conceptualize and ar- vide a running commentary on the current socio- ticulate the versatility and the complexity of this political situation. However, As Boris Buden5 no- region. Exploring or structuring the Balkans by tices, the Balkan artists know that the Balkans do pointing to the demarcation lines, curatorial con- not denote a fateful or cultural community to cepts show us possible positions from which one which they necessarily belong; neither does it la- could approach this area. The aim of this paper is bel the art they are making. Balkan is first of all a to map these positions from which the meaning technical term of their relationship towards the of the Balkans has been constructed and see if we global art market dominated by the west that dic- can relate to the Balkans in a way that is mutually tates actual demands under which they have to fulfilling? The understanding of how the Balkans act or to be accepted. Even when the myths about as the Other has been constructed in particular the Balkans are not real, the Balkan artists have to 6] Looking from inside, art is more often labeled as national (Serbian, Croatian, Romanian, Bul- 5] Buden, Boris, 2003. Jebe lud zbunjenog, Zarez, garian…) than as Balkan, although national art no. 107 often remains invisible on the European scale 30 exhibition examples, would certainly be applicable the frontier demonstrates that, in the case of the to any other discourse in the region. Balkans, we are not dealing simply with real geog- raphy, but with an imaginary cultural map. In this context, exhibitions I am analyzing here could be 2. West as the Universal One understood as phantasmic anatomy whose mes- sage depends of the One who is imagining. Life in the Balkans has never been interpolated by single ideology nor is the regional reality defined In her book Inventing Ruritania, Imperialism of the by the mutually accepted fictional code which imagination Vesna Goldsworthy analyzed how in would guide subjects in their social behavior. The the 19th century British literature the Western per- Balkans as a meta-signifier, fragmented and unsta- ception of the Balkans was shaped by what she ble as it is, is not capable of integrating all these defined as a “narrative colonization”10. Similar, but realities and making them visible on the global yet different visual colonization of the Balkans scale. Although there are different reasons for the happened at the beginning of the 21st century. The fragmentation of the Balkans, I would like to un- need to make the Balkans, the regional meta – sig- derline some of those that have been already nifier as the blind and unstructured spot visible, theoretically defined by local intellectuals. has resulted in the recent years by the number of The Balkan identities following Maria Todorova, are exhibitions in the German11 speaking area, that shaped by the geopolitics of the moment, and are have been curated so as to heal the crisis of imper- thus transient and unstable. Because they could be ceptibility. However, as we will see further on, the easily essentialized the incomplete identities thus crisis of false phantasms,that was inspired by prej- fall prey to interpolated completion by geopoliti- udices and stereotypes, filled the void. As Marina cal superpowers, and are therefore the subjects of Gržinić conceptualized it in her essay about East- crisis. To say it differently, this crisis is caused by the ern Europe, contemporary art works, paradigmat- fact that in the Balkans as the Other exists an in- ic for the comprehension of the region, are empty herent auto referential moment that makes it in- places, unless they are activated by phantasmic complete7. Alexander Kiossev8, a theoretician of constructions. literature and culture from Sofia. states that the Other of the Balkans (i.e. the neighbors, Europe, Because of their incomplete identity, or the lack of the civilized world, etc.) are universals, they posses the Universal structure, the Balkanites always in- all that we lack; they are all we are not. cline to some identification point. That explains why the Balkan contemporary art discourse need- Žižek, a famous Slovenian theoretician pointed to ed foreign agents12 capable of giving a structure the escapist character of the Balkans as being the to diversified contemporary art worlds of these “Other”9? If we are to follow his thoughts, one of the paradoxes concerning the Balkans is that its geographic delimitation was never precise. The Balkans are somewhere else, always a little bit 10] Goldsworthy suggests that an examination more to the southeast, with the paradox that, of British “imaginative” colonization of the Bal- when we reach the very bottom of the Balkan Pen- kans is an important contribution to the study insula, we again magically escape it. As he sees it of “marginal and ambiguous areas of the world Greece is no longer the Balkan proper, but the that have offered refuges to patterns of neo- cradle of Western civilization. Constant shifting of colonial behavior no longer acceptable else- where” 11] “Even after the most uncivilized violence 7] Gržinić, Marina, 2005. Estetika kibersvijeta i was perpetrated by the Germans during the učinci derelalizacije, Mi2, Zagreb, www.mi2.hr Holocaust, Europe continues to view the Bal- 8] Kiossev, Alexander, Notes on Self – Coloniz- kans as barbaric and always warring. This is ing cultures, in Bulgariaavangard, exc. cat (Co- something I’m reacting to and trying to ana- logne: Salon Verlag,1998) published in after lyze and expose: what is the mechanism which the Wall: Art and culture in Post-Communist leads people to forget conveniently and exter- Europe, exh.cat. Moderna Museet, (Stockholm, nalize their frustrations onto the Balkans” Maria 1999), pages 114-117 Todorova in an interview http://clasnews.clas. 9] Žižek, Slavoj, (1998). “The Specter of Balkan,” ufl.edu/news/clasnotes/9610/Todorova.html The Journal of the International Institute, Univer- 12] These are the characteristics of what Lacan sity of Michigan calls the ‘Big Other’ in theoretical psychoanalysis 31 particular states. It has been commonplace to say grained in our center/periphery romance instead that Oriental identities are constructed by the gaze of constantly recognizing ourselves as powerless of the Western universal One. In this case, the Bal- objects lastingly produced by you, the powerful kan artists have to identify with the curators gaze, subjects15? The undefined territory, the lack of the with the famous Ideal I, which is constructed local agents capable of giving the structure to the through fantastic narratives and which order the cracked and unstable symbolic order, the unstable East European or Balkan subject how it should identity always in need of Western One that will look ad who it will be13. More than once the phan- define and recognize it: all these are the reasons tasmic narratives were mechanisms which lead for our participation. But the most important rea- people to externalize their frustrations on the Bal- son lies in the need to become visible, to become kans. Because the Balkans are part of Europe, ex- recognized. Even if it is not realistic, imaginary hibitions are a good example to see how curators anatomy provides an insight in the Balkan’s re- framed it as an incomplete Other, or even as a dark pressed traumas and desires: traumas of constant- side of the Western “self’ and how they represented ly becoming as the Other and desires to exist as an an externalization from within. autonomous entity.

One of the exhibiting possibilities of the minor art worlds, such as the Serbian or any other particular 3. Becoming of the Balkans as the Other state’s of the Balkan region could be labeled as ‘creatively parasitic’. This means that generalities The West as the One does not have anything to do about major art worlds would be tested on the with the process of becoming, it exists and all it basis of minor cultures by drawing the line be- does is constantly reaffirming itself through the tween insiders/outsiders, margins/center. This ap- Other16. If we put the One opposite the Other, it is proach entails the instrumentalization or subordi- clear that the One needs the Other, because it nation to the geo-political which would then re- needs the demarcation line. Without that demar- strict the works of art to the representations of the cation line, there is no relation between the One exotic, ethnic or marginal “Other”. Most of the local and the Other and that is why the Other is always artists would have to accept the deterritorialisa- the negative of the One. Sometimes this demarca- tion of their language, the necessity of a political tion line could be radically perceived as the line perspective, and/or the generalization of the indi- between you, the western freedom-oriented civi- vidual experience14. This aspects could be all read lization and us, the non civilized Enemy from the in the works of national artists that participated in East17. the regional exhibitions such as In Search of Balka- nia (Graz, 2002), Blood and Honey. The Future is in If we refer to the Balkans as to the Other, in Žižek’s the Balkans (Klosterneuburg, Vienna, 2003) and In escapist sense, we will quickly realize that instead the Gorges of the Balkans (Kassel, 2003), that have of being they are in the constant process of be- Balkan as their meta-signifier. coming18 through contemporary art exhibitions that constitute their different imaginary cartogra- More than once, Balkan art agents such as Bojana phies. The Balkans have served regularly as a kind Pejić asked themselves how we actively and will- of a blank screen on which Western Europe pro- ingly participate in the power games that are in-

15] Pejić, Bojana. The center-periphery para- digm once again. Edited by Marius Babias; Romanian Pavilion, La Biennale di Venezia, 51. Esposizione Internazionale d’arte.The other texts were signed by most prominent Balkan art theoreticians 13] More on phantasmic Other-Gržinic, Marina. 16] The Balkans 2005. Estetika kibersvijeta i učinci derelalizacije. 17] Petrešin. Nataša. 2005. Location of the prob- Mi2 .Zagreb. page 24 and 27 lem: Always a bit more to the South East 14] G. Deleuze and F. Guattari: Kafka, 1986. 18] See more about this theory in Gržinić, Ma- Toward a Minor Literature, Theory and rina. 2005. Estetika kibersvijeta i učinci derelali- History of Literaturee,Vol. 30, London/ zacije. 59-69 p. Minneapolis:Minnesota Press Mi2, Zagreb, www.mi2.hr 32 jected its own repressed ideological antagonisms, the Other. The visualization of the Balkans was generating a series of phantasmic images of the stimulated by economic resources of West Euro- region in the last hundred years. Most of the above pean countries and this opportunity was em- quoted theoreticians think that these antagonisms braced by well established curators in the year display a material efficiency of their own and in 2002. – 2003. They all came from the West (Austria, turn help determine military, economic and po- Germany, USA, Switzerland, Slovenia), and through

Damir Nikšić, Hollywar

litical activity of a real historical agent19. It was also them the West dictated actual demands under mentioned many times before that in order to re- which the Balkans have to act in order to be ac- produce itself the center was both appropriating cepted. The positions of the One allowed the West us and setting us up as an Other20. It is most likely to be envisioned as the fount of knowledge and that visual colonization was based on these pro- truth defining the norms to be applied in the way jections. we perceive the Balkans21. Thus the intention of the curators was to structure the western relation Exhibitions I am about to introduce now will help towards the area that we referred to at the begin- me to map various types of the demarcation line ning of this text as the Blind Spot. between the West as the One and the Balkans as

19] Žižek, Slavoj, (1998). “The Spectre of Balkan,” The Journal of the International Institute, Univer- sity of Michigan 21] Žižek, Slavoj, (1998). “The Spectre of Balkan,” 20] Ditchev, Ivaylo. The eros of identity. Blood The Journal of the International Institute, Univer- and Honey exhibition ibid sity of Michigan 33 In Search of Balkania22 was curated by Peter romantic esthetic24 that enforced its Barbarian im- Weibel (from the Neue Galerie), Roger Conover age25. Theoretically speaking, this exhibition was (MIT press) and the Slovenian theatre critic Eda based around the metaphysic matrix of the tradi- Čufer in the Austrian city Graz in 2002. and was tional modernist exoticism26. It was an example of chronologically the first of these exhibitions that finding the authentic Other that is different from opened new territories of the art world. Introduc- uniformed or roughly speaking, bureaucratized ing the name Balkania, which has evolved out of European art or culture. the imperialistic strategies of Western European countries, not the least among them the former Another exhibition named Blood and Honey: The Austrian-Hungarian Empire, this exhibition was future is n the Balkans took place in Klostenbourg more than just an imagined entity, a “symbolic ge- near Vienna in 2003. This exhibition was not a mat- ography,” as the curators said in their statement. ter of displaying exotica, but of awakening west- The aim of this exhibition was to portray contem- ern sensitivity to the existence of the Balkan cul- porary art of the Balkan countries as a heterogene- tural landscape. Harald Szeemann imposed his ous array of diverse artistic cultural backgrounds, own phantasmic views on the region and tried to generations and media. In line with the title, most embody an ideal society whose imaginary worlds of the critics remarked that this exhibition was and ideologies suggested another history of the conceptualized to feed all the stereotypes and region. The title evokes the poles of anger and ten- prejudices about the Balkans and comprised some derness, disaster and idyll of something deeply hu- unavoidable constructs and clichés23. The imperi- man and universal. It is from this perspective that the alism of the imagination was achieved on two lev- subheading of the exhibition Future is in the Balkans els. Although most of the Balkan artists are versa- should be read. It points not only to a Southeast Eu- tile and produce exotic as well as progressive and rope which has not yet accomplished multi-ethnic universal contemporary art pieces, the curators unity, but also to all the links between these multilin- opted for the exotic ones even if they were not the gual authenticities and religions, majorities and mi- most representative pieces of the particular artist. norities, through art27. Although he successfully Secondly, instead of following the museum logic of the white cube, that would allow the autonomy 24] Eva Kernbauer thinks that this exhibition of the exhibited works, curators built a complex of is the virtual encounter with a symbolic ge- metaphors derived from the street collisions and ography that will be the 21st century’s most market chances of knowledge of the Balkans. As a important fold: where East meets West, where result the selection of works and their presenta- Occident becomes Orient, and where none of tion were built upon the cliché of a Balkan “patch- the old lines and myths about identity, self, na- work,” emphasizing a wild, disorderly, colorful and tion, and other hold. Indeed, if this exhibition presents a picture different from any picture previously shown in Europe of the Balkans, it is that there is nothing in Europe but the Balkans. Balkania is not a world unto itself, but a mirror onto all selves. To recognize the Balkans is to recognize features and syndromes out of which cities, wars, experiments, ideas and visions are composed. In http://www.artnet.com/maga- zine/features/kernbauer 25] The Balkan cultural dictionary was pub- lished by MIT for the occasion of this exhibition 22] Publications accompanying the exhibition: in order to clarify the notions such as kebabs, In Search of Balkania: A User’s Manual, Balkania: golden teeth, etc A Non-Standard Cultural Dictionary, ed. Roger 26] Šuvaković, Miško. 2005. Bio-Political Inter- Conover and Eda Čufer, and Balkan as Meta- pretation of Open Potentiality of Balkan Art or phor: Between Globalization and Fragmenta- A Temporary Realisation of European Identities tion. 2003. edited by Dušan I. Bjelic and Obrad Through Concrete Curatorial Tactics ; What Is to Savic: MIT Press.Cambridge/Mass Be Done with ‘Balkan Art’;Robert Alagjozovski, 23] Petrešin, Nataša, critics were based on theo- Barbara Borčić and Urska Jurman (editors); Cen- ry, while Uroš Đurić, famous Serbian artist who ter for Contemporary Arts SCCA-Ljubljana participated in most of these exhibitions, was 27] Blood and Honey/ Future is in the Balkans. kind enough to be my informant first degree 2003. catalogue, Edition Sammlung Essl, Vienna and give me his opinion 2003 34 Biljana Đurđević, Dentist Society

escaped exoticism, critics such as Nataša Petrešin hearse in which the body of Franc Ferdinand, who remarked that Zemman conceptualized his exhibi- was assassinated in Sarajevo, was driven through tion as spectacle and trauma. In the context of Vienna in 1914. Rather than phantasmic curatorial Žižek’s thoughts that I previously mentioned, spec- perspective of the Balkans, this historical artifact tacle and trauma could be a possible way to map that refers to the Franc’s Ferdinand assassination fantasized anatomy of the Balkans. On the other that caused the beginning of the First World War, hand, this as every other exhibition about the Bal- in this contemporary art exhibition is a serious po- kans imposes the question if anyone is entitled to litical statement on which the firm demarcation speak of those who traumatized because they are line between the West as the One and the Balkans not the One, of those who are less privileged than as the Barbarian, traumatic30 Other is formed. the West28. Despite the fact that Szeemman’s con- cept inclined toward finding universal values, his The exhibition called In the Gorges of the Bal- exhibition started with the works such as Marina kans took place in Kassel, Germany in 2003. and Abramović’s Thomas Lips that was inspired by Bal- shows us another version of the becoming of the kan ideologies. If we look at the concept from an- Balkans as the Other and was directly inspired by other angle we will realize that there are reasons Karl May’s book Oriental Odyssey. This novel rein- to believe that fantasy is often based on pure facts. forces all the prejudices against the region which At the beginning of this exhibition29 stood the were so prevalent at the end of the 19th century

30] Some authors such as E. Kosova and V. Ko- 28] Linda Alcloff quoted in Pejić Bojana, ibid rtun reproached the fact that the communi- 29] Just as the photo in the beginning of the cation developed after the post bellum, post catalogue traumatic years 35 the Wild West. With a doubtless reference to Karl May who used to call his books travel adventures and obviously inspired by the One – Other relation imposed by them, Rene Block gave a subtitle A report, wanting to say by this exhibition that he is not a reporter, but artists from the Balkans them- selves. Block was not conjuring a vision of the Bal- kans, as May and others did, and has refrained deliberately from making any interpretations which equalized a bit the positions and made the demarcation line less firm. As curator stated In the gorges of the Balkans was not conceived as a geo- political exhibition that was staged for non artistic purpose. Comparing to the other exhibitions this concept was dramatically different. It intended to integrate local curators thus giving the voice to the actual perspectives of the location itself. As he says, the title in itself sufficiently reflects Western view of the Balkans: wild areas, wild natives, Parti- Gulsun Karamustafa, The Settlers sans. Aware that it is difficult to comprehend the Balkans as the multi-layered complexity of the dif- and which anticipate many of the problems which ferent ethnic and religious groups, Block has cu- have plagued the region up to the present day31. rated this exhibition in order to unsettle people. However, while conceptualizing this exhibition a The curator avoided classifying, defining bounda- German Rene Block had the opportunity to learn ries wanting to escape that the exhibition is la- from the mistakes of previous curators. In my aim beled as another famous case of Western interfer- to perceive possible artistic approaches to the Bal- ence. Instead of classifying, as other exhibitions kans, as the Europe’s Wild East, and giving the fact did, Block intended to open new perspectives, to that Block was directly inspired by Karl May, it is open up for the desired communication with the essential to understand some of May’s previous Others and to promote communication between works. He was the best selling German writer in artists and between regions. the 19th century and his books show us a great way to approach other countries from German per- Despite the fact that this exhibition was also struc- spective. His most famous book Winnetou was an tured on Western fiction, it was defined by a richer adventure novel about an American-Indian hero dialogue approach and different translation, than and his friendship with the white man set in the the other two. It was the manifestation of the re- American Wild West. It portrays a belief in an in- gionalism as a discussion between equal or une- nate “goodness” of mankind, albeit constantly qual partners contesting and cooperating on the threatened by ill-intentioned enemies. Karl May’s tools such as language, history and possible fu- “Winnetou” novels symbolize, to some extent, a tures and some agents (Erden Kosova Vasif Kortun) phantasm of other territories such as Wild West even noticed positive consequences such as ac- and a romantic desire for a true friendship be- celeration of transversal energies among the par- tween people of different origin. In this context it ticipants and the resulting conversation between is no coincidence that several of May’s novels were them. made into films, with most being filmed with the Many projects followed the exhibition and they mountains of the former Yugoslavia doubling for were not supervised by the Fridricianum institu- tion, but were exclusively adapted to suit local 31] In the Gorges of the Balkans and the sequel requirements and wishes. More than the previous volume Through the land of Skipetars, set in what two, this exhibition showed the potential for de- is now the territory of Albania, both focus on the construction of imperialistic modernist models conflicts which have persisted to the present day that are based on the stable relation of the hege- and their background: interview with the cura- monic center and traumatic or passive margins. It tor from: Block, Rene. Heinrich, Barbara (ed). 2003. In den schluchten des Balkans, Kunsthalle was an example of the exact kind of deconstruc- Fridericianum, Kassel tion that led to the establishing of the imperial 36 model of transit integration of hybrid relations into Other. The following exhibition Blood and Honey the global scheme of the new world. was a result of the imperialism of imagination and although the curator successfully avoided the ex- To describe different approaches to the Balkans I otic perspective, fantasy merged with some po- will compare the hearse of Franc Ferdinand that litical statements which once again successfully served as a frame for Szeemann’s exhibition with marginalized the region. The third exhibition In the the item that outlined Rene Block’s exhibition. In- Gorges of the Balkans was the closest to introduce stead of exhibiting the hearse as the symbol of the Balkans not as the Others, but as a number two assassination and trauma caused by the Balkan and illustrates directly the shift that Gržinić sug- Others, at the beginning of Block’s exhibition gested. Instead of the Balkans that would be con- stood a photo. It was a photo of a memorial32 to structed on a fiction, Rene Block’s concept allowed Gavrilo Princip, the Serb anarchist who shot and that the Balkans exist parallel with the West, not as killed the Archduke Franc Ferdinand. By asking the Other of the First. Not referring to the Balkans himself if Gavrilo Princip was a terrorist or a free- as to the Other, but treating it as number two is an dom fighter Block’s shows us a different approach entirely different strategy of art and culture whose to the Balkans, the one that he has emphasized, aim is to confront the reality and its phantasmic the approach from the inside of the region. In the supplement face to face. This approach is useful if second example the Other is not the negative of we want to challenge the phantasmic construc- the One, it is not opposed, but parallel to it. That is tions of the Balkans as of the Other that was used why we could interpret In the Gorges of the Balkans for imperialistic aims and that often did not have as an example of a different perspective of the Bal- many things in common with the real image of the kans33. region.

Perfect example of how to exist parallel to the One, 4 . From the Other to the two instead of constantly becoming his Other, his dou- ble or replica35 is the Balkan consulate, the project Are there other possibilities for the articulation of that took place in Graz only two weeks after the the Balkan contemporary art? My answer to this opening of the Exhibition in Search of Balkania. For question will be based on a theory developed by one and a half years, < rotor >, an association for the Slovenian theoretician Marina Gržinić34. In- contemporary art, became the “Balkan Consulate” stead of the demarcation line between the West and during the whole year of “Graz 2003 - Cultural and the Balkans, that would imply that the Other Capital of Europe”, curators from South-Eastern is the pure negative of the One, this author sug- Europe had a possibility to organize the program gested a perspective shift. Let me remind you that from their perspective. Rotor Hosted Balkan agents the Exhibition In Search of Balkania was based on who were forming the essential motors of the de- fiction and referred to the Balkans as to the exotic velopment of contemporary art in their environ- ment and gave them a possibility for a counter- colonizing practice. The host institution “rotor”36, which has promoted alternative thinking and practice for a long time showed a capability of pro- 32] The monument that was located in Sara- viding the space and economic sources for para- jevo shows the imprint of both shoes worn by digms that were out of the western perspective. Princip during the assassination. It is a mod- Rotor was open to think of the Other as of the Two, est monument created by the sculptor Vojo by allowing it to be the starting point instead of Dimitrijević, an example of early conceptual Art in Eastern Europe that was destroyed during being structured as the Other negative pole of the the Bosnian war couple. Contrary to the participation in some insti- 33] That some changes did occur in this exhi- tutional projects, in the Balkan consulate the na- bition confirms a Turkish art agent Vasif Kortun when saying that it was more than exhibition: an after-effect that enhanced a peripehery- peripehery discussion in an extremely positive 35] Gržinic, Marina quotes Alenka Župančić. In way Marina Gržinić 2005 Estetika kibersvijeta i učinci 34] See Zupančić, Alenka, Nietzsche in nic, in derelalizacije, Mi2, Zagreb, www.mi2.hr Filozofski Vestnik (Acta Philosophica), FI ZRC 36] Margarethe Makovec and Anton Lederer SAZU, Ljubljana, 3/2000 are the founders of the Rotor 37 tional actors did not need to fit into the schemes kans are being looked at from abroad: as trauma- of the geopolitical sponsors, abiding by general tized, exotic entity without the proper meta struc- keywords, norms and narratives. This approach al- ture or fiction order. They helped us to perceive lowed to Balkan curators the possibility to fulfill where we went wrong in taking care of represen- their mission and use a consulate as a laboratory tations. We were traumatized because we were not for experimenting with, what would elsewhere be universal, and our particularities were often de- considered as an impossible task of representing fined as negative. After being traumatized where the missing representation37. As Balkan curators would our desires bring us? Would being the sub- put it, the basic aim was not to show and convey ject mean that we will suffer the consequences of what is and what was ‘really’ going on in one of the self-colonization? zones almost invisible on the international map of contemporary art, behind the ‘media wall’ covered Self-colonization has been already anticipated on with images of violence and exoticism referred purpose in the “Yugoslavia”39 National Pavilion at with to the local ‘Balkanites’. Their intension, rising the Venice Art Biennale in 2003. The façade of this up to a demand, was to change the context of building, an unavoidable symbolical knot for all mechanisms of visual representation from a phan- invested phantasms in the idea and character of tasmic Balkan cultural zone. ex Yugoslavia, was a site of the light installation40. Although it was conceived in order to throw some “Light” on the existence of this traumatic country, 5. From trauma of becoming observers were forced to look aside. Contrary to as the Other to the desire the blurring façade, local curators decided to ex- to exist as Universal hibit the copies of the famous modernist art piec- es and named the interior of the national pavilion The exhibitions conceptualized by foreign cura- The International exhibition of Modern art featuring tors, were mostly fictionalized around the consti- Alfred Barr’s Museum of Modern Art, NY41. tutive trauma of the Balkans, the trauma of not having a stable identity and not being Universal. Before I conclude from this perspective I would What is the future of the Balkan art? not like to exclude the possibility that the Balkans played on the card of their particularity: most of Most prominent exhibitions in Serbian contempo- the local artist used the Balkans as the meta-signi- rary art world last year brought a significant shift. fier only when they were not capable of promot- To put it differently, the traumas of constantly be- ing their art abroad. Some of them even shaped coming as the Other or as the copy of the One are new works to fulfill the exotic expectations of the now being substituted by the effort to fulfill the Western curators38. desire and exist as independent subject of the

On the other hand, these curators pinpointed at the serious consequences of the Balkan difference. Their conceptual demarcation lines helped local art agents to define of the trauma that the Balkans 39] That year was the last when the name ‘Yu- had to confront if they want to live the life different goslavia’ was used on the international political from the life that would be directed by the fictions scene of the West. The alienation of the region in the for- 40] Tomić, Milica, National Pavilion, 2003: (Light installation on a building façade: surface 160m2. eign curatorial concepts showed us how the Bal- On the façade of the “Yugoslavia” pavilion, 400 interconnected flashbulbs have been placed – in equal distance from each other – to cover the surface. The bulbs are set to flash simulta- neously and in regular intervals. Consequently, the dazzle of the flashes causes “damage” in 37] Text by Stevan Vuković.2002. for the occa- the scopic field of the observer. This temporary sion of BALKAN KONSULAT PROUDLY PRES- blindness lasts until the eye recovers. This pre- ENTS: BELGRAD. Rotor. Graz vents the eye from seeing the object/pavilion.) 38] Artists such as Sener Özmen & Erkan Öz- http://www.msub.org.yu/venice/NP.html gen, Šejla Kamerić, Cosmin Gradinaru; see 41] See more http://www.msub.org.yu/venice/ Šuvakovic, Miško IEoMA.html 38 contemporary art world. Instead of on geo-politi- cal signifiers, the focus in Serbian art was on find- ing universal values in a globalized world without hierarchies. The exhibition Situated Self: Confused, Compassionate, Conflictual42 introduced a wide range of international art pieces based on indi- vidual experience, while insisting on the active negotiation of meaning and by examining the re- lations of the self, being in the world and being with the others.

International October Art Salon43, that featured Ser- bian and established Western artists, was con- ceived as a hub capable of resolving the conflict- ing views arising from the opposition us/them, center/periphery, civilized/barbaric. The network- ing of this exhibition has made possible a different positioning of the scene and created an opportu- nity for its inclusion in the world on more equal footing.

Today, local art agents in the Balkans are trying to structure the art world on the basis of the Western art market, as a possible way to implement univer- sal structures. This process could be interpreted as self-colonization, as a way to lovingly colonize the Balkan authenticity through these foreign models. Although this process could homogenize the rep- resentations of the region by raising universal rather than geo-political issues, the creation of a structured and powerful art scene might have some positive implications. The Balkan art might no longer be present at international exhibitions Maja Ciric (b. Belgrade, 1977) is a freelance curator and art only on the condition that the difference it repre- consultant. Holds a BA in Art History from the University of Bel- sents is a controlled one. grade, a n MA in Cultural and Gender Studies from AAOM, Belgrade and has a diploma of the interdisciplinary postgraduate program Transit Spaces of the Bauhaus, Dessau, Germany. Her latest inde- pendent projects include shows such as Bcoming Minor, KCB, 2005; Offbeat:Look and See the Violece Against Women, SKC, Belgrade, 2007; Beyond Theory, WUK, Vienna &SUSHI Visual Arts and Performance Space, San Diego 2008; Beware the Aftereffects, Infernosque, Berlin, 2008. She was the curator of the Serbian Pavilion at 52. International Art Exhibition La Biennale de Venezia, 2007 and The New Visual Tendencies Festival, Dom Omladine Belgrade 2007. She collaborated with Remont on the 46.October Art Salon 2005; and Moble Studios Project 2006. She works in Dubai, UAE as an art consultant and she collaborated with Shang- hai Zendai Moma Museum. She uses the curatorial practice in order to make a supplement to the main stream discourses, and produce alternative knowledge 42] Curated by Serbian curator B. Dimitrijević. about social, political, and aesthetic transformations. Her areas of 2005. Museum of contemporary art.Belgrade interest, amongst other, are gender theory and new media prac- 43] Curated by Serbian curator Darka Radosav- tices. She received the Lazar Trifunović Award for Art Criticism and ljević. 2005. Cultural center of Belgrade the ArtsLink Independent Projects Award. 39 Maja ĆiriĆ

Zašto je Mangelos nagrada dodeljena Katarini Zdjelar?

Otvoreni konkurs za Manegelos nagradu već šest nih okolnosti, njeni video radovi ispituju zakone godina predstavlja odličnu priliku za osvetljavanje Simboličkog poretka i usmereni su na defekt sim- i posledično arhiviranje aktuelne srpske umetničke bolizacije čije se varijable ostvaruju u odnosu na produkcije, bez unapred definisanog vrednosnog različite identitete, prakse ili kulturne norme inter- sistema, koji bi nametao ograničenja i na taj način pretatora. Gotovo kao po pravilu, u Katarininim zatvorio prostor za naknadne i drugačije evaluaci- radovima svaka označiteljska praksa, čija je svrha je. Izbor je zasnovan na pristupu dno gore (bottom- reprezentacija subjekta, čini se neprimerenom, jer up), što bi značilo da detaljna procena opusa pri- javljenih umetnika uvek počinje sa analizom osnovnih elementa koji taj opus čine. U skladu sa takvim pristupom, prijave su prevashodno razma- trane u odnosu na pojedinačna umetnička ostva- renja, zatim u odnosu na stepen do kog je razvijen autorski diskurs u celokupnom opusu, nakon čega se tek promišlja i njegova moguća uklopljenost u aktuelni, globalno afirmisani svet umetnosti. Pred- nost imaju opusi onih umetnika čiji su elementarni mehanizmi koegzistentni najpre unutar pojedinač- nih radova, zatim od jedne do druge serije radova, ali koji će tu keogzistenstnost uspeti da zastupe i u svakom sledećem liminalnom obliku, kao na pri- mer u kompleksnoj prezentaciji. Ovakav pristup procenjivanja daje šansu i onim autorima koji nisu unapred uklopljeni u postojeće sisteme i čiji se kvalitet zasniva na uverljivom diskursu i ne zavisi samo od trenutnih okolnosti u svetu umetnosti. Katarina Zdjelar, There Is No Is Autentičan i precizan princip sa kojim se Katarina Zdjelar, ovogodišnja dobitnica nagrade, izdvojila subjekat ne može da ovlada celim sistemom. Ali, od ostalih učesnika, realizovan je na svim gore na- upravo ta neprimerenost, to klizanje, taj nesklad vedenim nivoima. U većini njenih radova taj prin- između Ja i njegovih označitelja, pozitivno definiše cip je ostvaren destabilizacijom značenja nekog njene radove. Fokus dakle, nije na reprezentaciji, jezičkog sistema (veštine, ideologije, pravnog za- već na uspešnim pokušajima da se uspostavi i kona), a koje nastaje kada taj sistem interpretiraju osvetli dijalektika između sistema kao celog i real- alternativni i/ili neautoritarni izvori(stranci, deca, nog, fragmentarnog iskustva pojedinca. amateri…). Pre nego direktno ispitivanje društve-

40 Maja ĆiriĆ

Why did Katarina Zdjelar win the Mangelos award?

For 6 straight years now, the open competition for the Mangelos award has represented a remarkable opportunity for the appreciation and archiving of current Serbian art production, lacking a prede- fined value system that would limit and thus hinder additional and alternative evaluations. The selection is based on the bottom-up approach, which implies that the detailed assessment of par- ticipating artists’ works starts off with the analysis of elements that comprise those works. Accord- ingly, the applications were first and foremost con- sidered in relation to individual works of art, and, secondly, in relation to the level of maturity of art- Katarina Zdjelar, Don`t Do It Wrong ist’s discourse in the whole body of work. Its po- tential correspondence with the current, globally and does not solely rely on current circumstances acknowledged, world of art is considered at the in the world of art. end of the process. The advantage is given to those The authentic and precise principle that set this bodies of work whose basic mechanisms are coex- year’s laureate, Katarina Zdjelar, apart from other istent within individual works, then also within participants was realized on all the aforemen- series of works, and which are capable of repro- tioned levels. In the majority of her works this prin- ducing the coexistent mechanisms in every subse- ciple was realized through the destabilization of quent liminal form, for example, in a complex pres- the meaning of a linguistic system (a craft, an ide- entation. ology, legal regulations) that takes place when the This approach to assessment also gives chance to system is interpreted by alternative and/or unau- those artists who do not fit into existing systems thorized entities (foreigners, children, laymen, and whose quality is based on a potent discourse etc.). More so than directly inquiring into social circumstances, her video works inquire into the laws of the symbolic order and the deficiency of symbolization whose variables are realized in rela- tion to different identities, practices and cultural standards of the interpreters. Almost by rule, every signifying practice in Katarina’s work, the purpose of which is to represent the subject, is rendered unsuitable because the subject cannot master the whole system. But, it is that unsuitability, that shift- ing, that dissonance between “I” and its signifiers that positively defines her work. The focus is, there- fore, not on the representation, but on successful attempts in establishing and appreciating the dia- lectics between the system as a whole and the real and fragmentary experience of an individual. Katarina Zdjelar, Taking Place 41 Stevan vuković

Pesimizam intelekta, optimizam volje

(Institucionalna kritika u Srbiji i društvene parazite i crvenu buržoaziju. Među osta- nedostatak njenih organskih referenci) lima, navedeni su i sledeći: „fabrike koje proizvode materijale potrebne umetnicima, preduzeća koja prodaju materijale potrebne umetnicima, njihovi Zatočenost u domenu kulture radnici , službenici, prodavci, posrednici, itd... pro- – pod udarom šumareve palice dajne galerije i njihovi službenici, galerije bez pro- fita, galeristi, voditelji galerija, kustosi galerija i Jedan od ključnih, iako još uvek nedovoljno tuma- njihovi lični sekretari i prijatelji, plaćeni savet gale- čenih radova beogradske konceptualne umetnosti rije, neplaćeni savet galerije koji ubira novac zato sredine sedamdesetih je bila Edinburška izjava što nije plaćen... fotograf koji snima radove za ka- Raše Todosijevića, sa uporednim naslovom: Ko pro- talog, izdavač kataloga, urednik kataloga, štampa- fitira od umetnosti, a ko pošteno zarađuje1. Objav- ljena je 21. aprila 1975, u vidu postera, koji je na- na koji se ono može uspostaviti kao pokret vodio sve profitere od umetnosti, uključujući i razne odozdo na gore, u smislu da radnici zaista pris- voje uslove i rezulete svog rada. Naslov knjige je bio Radničko samoupravljanje i radnički pokret, 1] U istoj seriji izdat je i rad – plakat Zorana i sastojala se od tri vrloopsežna dela, od kojih Popovića, umetnika iste generacije i člana iste je prvi nosio naziv Teorijske osnove i istorijska neformalne grupe šest eksperimentalnih um- iskustva, drugi Revolucionarno ukidanje kapital- etnika, okupljenih oko Galerije SKC Gallery, pri- izma, a treći Socializam. Kao priređivač knjige, padnih, kako je to Ješa Denegri nazvao Drugoj Miloš Nikolić je i sam naglasio da je njen nas- liniji. Naziv tog, takođe tekstom ispunjenog tanak bio neka vrsta odgovora na studentske plakata je bio Za samoupravnu umentost, i on pokrete 1968, i to kako na majske nemire u je zagovarao politizaciju umetnosti protiv cr- Parizu, tako i junske u Beogradu. Da bi zahteve vene buržoazije i državne birokratije, koji su, u postavljene od strane aktivne mlade levice us- godinama nakon protesta 1968, bili smatrani peo da amortizuje, sistem je morao da dođe do za „klasne neprijatelje proletarijata”. Bitno je određenih ustupaka kao rešenja, a jedan od tih pomenuti da su ti plakati i ceo novi projekat ustupaka je bio upravo i samo osnivanje SKC, nove političke umetnosti sa eksperimentalnim nekadašnjeg policijskog kulturnog centra, kao predznakom, za društvo u tranziciji ka hori- Studentskog kulturnot centra za eksperimente zontalnim modelima samoupravnih praksi u u umetnosti, kao i u različitim oblastima kul- svim regijama društvenog života , bio proizvod turnih i društvenih praksi. Kao sekundarni, SKC-a, čija direktorka je tada bila Dunja Blažević, ali mnogo ambicionzniji cilj, knjiga je imala i istoričarka umetnosti i prva kustoskinja Galerije produkciju teorijske i ideološke osnove za pot- SKC Gallery, i ona je zapravo povezala ove um- puno uključivanje svih progresivnih i emanci- etnike i insistirala na njihovoj saradnji. Dve go- patorskih grupa u proces donošenja odluke u dine pre ovog projekta, koji je bio objavljen u domenu već postojećeg sistema, pa čak i uko- okviru izložbe Oktobar ’75 u Galeriji SKC Gallery, liko bi to proizvelo znatne promene u načinu pojavio se i veoma interesantna zbornik u na tu na koji je sistem funkcionisao. Tekstovi autora temu, u izdanju Izdavačkog centra “Komunist”iz u rasponu od Marksa to Gramšija, od Roze Luk- Beograda, koji je predstavio kompilaciju teksto- semburg do Bakunjina, i tako dalje, trebalo je va vezanih za borbu protiv restauracije kapital- da obezbede set alata sa kojima bi se tim za- izma i birokratskih i tehnokratskih monopola, sa datkom trebalo baviti, što je u jednom od svojih namerom da prevlada činjenicu da je radničko govora naglasio čak je i sam Tito, doživotni samoupravljanje u Jugoslaviji uvedeno odozgo, predsednik zemlje, predsednik Saveza komuni- od strane Saveza komunista, i traga za načinom sta Jugoslavije i vrhovni komandant JNA. 42 rija koja štampa katalog, pozivnicu i plakat, radnici tanje ostaje samo kako da se on pomeri ka Adap- koji slažu, štampaju i povezuju katalog i pozivni- tivnom menadžmentu kvaliteta, da bi se od svega cu... noćni čuvari galerija, muzeja, zbirki i kojeka- onoga što cirkuliše među njegovim sastavnim de- kvih kolekcija i legata, lažni čuvari galerija muzeja lovima i segmentima izvukao maksimum. i kulekcija, doušnici, tehničko osoblje muzeja, zbir- ki i legata, organizatori simpozijuma, susreta i festi- Koristeći se rečima Roberta Smitsona, iz eseja pi- vala umetnosti... patroni i organizatori stipendija za sanog još 1972. godine4, može se reći da je to što studiranje u inostranstvu koji se po pravilu dode- se desilo radu Raše Todosijevića svojevrsno zato- ljuju: deci viših državnih činovnika, deci uglednih čeništvo u kulturi – njegova neutralizacija, kojom bankara i deci maskirane i pritajene buržoazije u postaje „neefikasan, apstraktan, bezopasan i poli- Socijalizmu... pritajeni ideolozi, demagozi i mrač- tički lobotomiziran”, i to da bi ga bilo moguće lako njaci sa instituta, visokih škola, muzeja i akademija konzumirati i razumevati, ili, u ovom specifičnom kojima je pre stalo do moći i uticaja u umetnosti, a slučaju, sravniti do razine pozitivnog iskaza, goto- ne do obrazovanja i kulture koji ne nude nikakav vo pijačne liste institucionalnih segmenata koji profit, i svi oni koji nam verbalnim liberalizmom čine sistem umetnosti. Po Smitsonu, taj zadatak, pokrivaju svoje dekadentne, prevaziđene, reakcio- koji je u ovom slučaju bio ispunjen od strane in- narne, šovinističke i buržoaske modele umetnosti struktora kulturnog menadžmenta, obično obavlja i kulture, da bi stekli pozicije izvan umetnosti, izvan dežurni kustos, koji umetnost čuva na sigurnoj kulture i nad umetnošću i nad kulturom...” Na listi razdaljini od političkog, na način na koji dežurni se našlo oko dvesta stavki, odnosno odrednica, šumar u Gramšijevim Zatvorskim sveskama čini sa uključjujući i ime samog autora, s objašnjenjem da aktivnostima futurista, predstavljenih kao „grupa „je i ovaj tekst autor napisao da bi nekako profitirao malih školaraca koji su pobegli iz jezuitskog seme- od dobrog i zlog u umetnosti” ništa , napravili neku štetu pošumi, te bili sprove- deni natrag uz pomoć šumareve palice”.5 Tri decenije kasnije, isti tekst se pojavio u knjizi pod naslovom Menadžment u turbulentnim okolnosti- ma2, kao dodatak osnovnom tekstu autora Milene Trasformismo kao lokalna Dragićević-Šešić i Sanjina Dragojevića, profesora institucionalna politika univerziteta i konsultanata Saveta Evrope, UNESKA i Evropske kulturne fondacije, i to u oblasti kulturne Sve to nije osobeno samo za trenutno stanje stva- politike, menadžmenta u kulturi i unapređenja in- ri. Institucionalna logika Socijalističke Federativne stitucionalne strukture. Objavljen je u celokupnoj Republike Jugoslavije, posebno u sektoru koji je dužini, što je oko deset strana, i navedeno je da igrao ulogu civilnog društva (sastojeći se, u žargo- pokazuje „višestranu međuzavisnost delovanja u kulturi kao temeljno pitanje njenog značaja, ali i 4] Smithson, R: The Writings of Robert Smithson, mogućnosti opstanka svih vidljivih i manje vidlji- edited by Nancy Holt, New York: New York Uni- 3 vih aktera koji je sačinjavaju” . Drugim rečima, ko- versity Press, 1979. Taj tekst je bio korišćen i od rišćen je kao puka ilustracija holističkog poimanja strane pomenutih umetnika, i kasnije je bio i ob- institucionalne strukture, kao i taktika za moguća javljen u Beogradu, pod nazivom „Omeđavanje kretanja u njegovom okrilju, s tim da su umetniko- kulture”, u Smitsonovim spisima izabranim od vi argumenti okrenuti protiv njegove osnovne in- strane Zorana Gavrića, i publikovanim u MSU tencije, tako da se tvrdi da ukoliko svi ovi faktori Beograd, 1983. Dejan Sretenović, kustos ret- zaista zavise od simboličkog i finansijskog kapitala rospektivne izložbe Raše Todosijevića, koja je održana u istom muzeju novembra i decembra koji je sakupljen u umetnosti, tada funkcionalan 2002,takođe citira iz ovog teksta, vezano za sistem u ovoj oblasti zaista postoji, tako da kao pi- Rašinu upotrebu objekata i situacija na način koji ima za cilj da zađe s onu stranu predstave, tvrdeći da je to vezano za Smitsonov iskaz: „Ja 2] Dragićević-Šešić, M, and Dragojević, S: sam za umetnost koja uzima u obzir neposre- Menadžment umetnosti u turbuletnim okolnos- dan uččinak elemenata onako kako oni postoje tima, organizacioni pristup, Beograd: Clio, 2005, nezavisno od predstave”. Sretenović, D: „Umet- strane 226 – 235. Knjiga je rezultat više godina nost kao društvena praksa”, predgovor katalogu mentorskog rada u području kreativnih indus- Hvala Raši Todosijeviću, MSUB, 2. novembar – 22 trija u jugoistočnoj Evropi, Bliskom i Dalekom decembar 2002, Beograd: MSUB, strana 10. Istoku. 5] Gramsci, A: Prison Notebooks, ed. Buttigieg, 5 3] Isto, strana 225. tomova., New York, 1992– , 1:211. 43 nu socijalističkog samoupravljanja, od društveno- bjekta iskaza8, zašta bi najilustrativniji primer bio političkih organizacija i društveno-političkih zajed- tekst koji čini deo njegovog rada iz 1996. godine, nica) bila je zasnovana na principu koji je Gramši u okviru koga vidimo njegov autoportret u pos- (preuzimajući to od Kročea) nazvao trasformismo, prdno pikasoovskom stilu, u tipičnom okružju no- kojim se aktuelni i potencijalni lideri i inicijative vinske ilustracije, koji kaže sledeće: „Ne, gospođo, koje dolaze od potčinjenih grupa stalno bivaju in- ja nisam srpski umetnik, ja sam samo konceptual- korporisani u dominantni projekat, da bi se spre- ni rad koji se zove srpski umetnik”9. Šta god da on čilo formiranje kontra-hegemonog pokreta. To se svojim radom radio, on to čini odustajući od suve- odnosilo na omladinske organizacije, studentske renosti umetnika kao izvođača i kreativnog vrela organizacije, udruženja umetnika, pisaca i drugih rada, postavljajući se u položaj kritičkog odražava- proizvođača u oblasti kulture, kulturne zajednice nja želje sistema u kome je zatočen. koje se obrazuju na zajedničim etničkim, religio- znim i drugim temeljima, kao i različite samoorga- Upravo u tom duhu, Pavle Ćosić, jedan od Ilegalnih nizovane urbane potkulturne grupe. Zapravo je i poslastičara, što je grupa ciničkih društvenih i me- takozvanim disidentima čak bio ponuđen način da dijskih aktivista koji su počeli da deluju na lokalnoj budu bezbedni u svojim aktivnostima (umesto sceni poslednjih par godina, tvrdi da budući da slanja u Gulag), i to zato što je upravo to pokaziva- ljudi uopšteno veruju u to što žele da bude istina, lo razliku društva koje su oni dovodili u pitanje, i uloga njegove grupe (Ivan Tobić, Aleksandar Bel- pravog staljinističkog. čević i Miloš Trajković su ostali njeni članovi), i nje- ga samog jeste naprosto u tome da im pruže to što U vreme bivše Jugoslavije, nije bilo ničeg izvan si- ovi žele. Naime, prva intervencija koju si izveli je stema. Sve inicijative su, pre ili kasnije, bile preuze- bila materijalizovana kao slika pisma skeniranog iz te od strane oficijelnih institucija, i prostori koji su Politikinog Zabavnika, iz rubrike Pisma čitalaca, u izgledali kao male autonomne zone izvan doma- kome dvanaestogodišnji dečak pita kako da pre- šaja dominantnih društvenih i kulturnih paradigmi stane da raste, pošto je postao već previsok za svoj su zapravo bili regrutni centri za buduće vođstvo uzrast. Poenta je bila u tome da je potpis ispod tog tog zajedničkog jugoslovenskog društva. U žargo- pisma bio modifikovan u potpis Vlade Divca, srp- nu lakanovske terminologije, bilo je jasno da skog košarkaša koji je tada još igrao u NBA ligi, i „strukture institucija nisu tek nametnute inače slo- koji je bio predstavljan kao rođeni košarkaš. U sle- bodno postojećim praksama”, već da su „sve prak- dećoj intervenciji targetirali su američku ambasa- se uvek deo neke institucionalne strukture, bez du, i to putem lažnih vesti koje su globalno proši- koje baš nikakve aktivnosti, ni kritika, pa ni govor, rene putem medija kao što su BBC, CNN, the Inde- ne bi bili mogući.” 6 pendent, i Observer, Vest je tvrdila da je kafe bar Osama, namenjen za druženje usamljenih penzio- U tom smislu, Todosijevićev čin stavljanja sebe sa- nera i drugih starih lica, bio zatvoren usled inter- mog na listu onih koji profitiraju od umetnosti vencije zvaničnika pomenute ambasade, iz razloga putem kritikovanja svih onih koji od nje profitiraju, sumnje da taj naziv ima neke veze sa imenom Bin upućuje na veoma zanimljiv aspekt njegovog rada Ladena. Sledeća vest, koja je bila veliki hit u Hrvat- koji je potom otvorio puteve za sledeće talase in- skoj, je bila vezana za navodno lažne hrvatske au- stitucionalne kritike. Naime, njegova pozicija aktiv- tomobilske tablice, koje je neko prodavao turisti- nog cinizma, kako je to nazvao Ješa Denegri,7 stal- ma iz Srbije koji su putovali na hrvatsku obalu, na no pravi razliku između subjekta iskazivanja i su- letovanje, a koji su, navodno, ove rado pazarili da ne bi brinuli o bezbednosti svojih vozila.

6] Kopjec, J: „Dossier on the Institutional De- 8] To u stvari čini razliku spram paradigme Um- bate: An Introduction”, u Lacan, Jacques: Televi- etnosti u prvom licu, koju je Ješa Denegri opisao sion: a Challenge to the Establishment, London u predgovoru katalogu izložbe Nova umetnost u and New York: Norton, 1990, strane 49-50. Srbiji 1970-1980, održane u MSU Beograd, MSU 7] Denegri, J, neimenovan tekst u katalogu Zagreb i Umetničkoj galeriji u Prištini, 1983. Todosijević, R: Velike južne predstave, Beograd: 9] Taj rad je bio reprodukovan u katalogu nje- SKC, January1980, strana 7. gove retrospektive u MSU Beograd, na strani 19. 44 Ovakve i druge slične navodne vesti bile su širene i što bi u stvari značilo zaštitu i sprovođenje u delo sa lažnog B92 blog sajta (www.be92.mojblog. vlasničkih prava, promovisanje kompetitivnog pri- co.yu), odnosno takvog B92 blog sajta koji je bio stupa, eliminaciju korupcije, i korišćenje civilnog unapređen u smislu odsustva kontrole donatora i sektora za podršku legitimaciji javnih institucija drugih vrsta cenzure. Sprečeni da na “pravom” blo- koje podržavaju tržište.11 gu B92 postavljaju tekstove koji preispituju vred- nosti civilnog društva ili legitimnosti međunarod- Posebno u regionu bivše Jugoslavije, veliki broj nih institucija kao što je Haški tribunal, postavili su nevladinih organizacija (NVO) i grassroots organi- novi i bolji blog. zacija (GROs) bilo je podržavano ukoliko su poka- zivali rešenost da promovišu liberalnu demokrati- ju i ekonomski liberalizam. Radio, a kasnije i Televi- Uticaj donatora na civilno društvo i zija B92, koji ne samo da je proizašao iz tog sekto- nova hegemonija ra, već je, u rano doba svog rada, početkom deve- desetih, čak bio viđen za organskog intelektualca Od vremena delovanja umetnika generacije Todo- urbane beogradske mladeži u protestu spram he- sijevića do Ilegalnih poslastičara napuštena je ideja gemone elite, kasnije je postajao sve više i više o društvu obilja, suverenom i samoodrživom. U kompromitovan u toj funkciji, u proporciji sa po- potonjem već dominira prisustvo različitih među- većanjem finansijske podrške regionalnim elek- narodnih institucija koje su na sebe preuzele uloge tronskim medijima, koja je kroz njega kanalisana, nekadašnjih državnih institucija u području domi- postavljajući ga u položaj profitabilne kompanije, nacije nad civilnim sektorom. Po Koksu, hegemoni lidera u medijskim biznisu. uticaj tih međunarodnih institucija je zasnovan na sledećem: S druge strane, to što se ranih devedesetih konsti- (1) One otelotvoruju pravila koja vode ekspanziju tuisalo u protestu spram postojećeg institucional- hegemonih svetskih poredaka; nog okvira kao takozvana nezavisna beogradska (2) One su same proizvod hegemonog svetskog umetnička zajednica, uglavnom zasnovana na lič- poretka; nim i kolektivnim ljudskim i materijalnim resursi- (3) One ideološki legitimišu norme svetskog poretka; ma, uskoro je potpao pod polje uticaja lokalnog (4) One u sebe uvlače i preuzimaju elite iz perifer- Soros centra za savremenu umetnost, kao osnovne nih zemalja; i artikulacione snage nevladinog sektora u vizuel- (5) Apsorbuju kontra-hegemone ideje.10 nim umetnostima, i radija B92, kao izvršnog pro- ducenta svih događaja izlagačkog formata koji je Naime, tokom kasnih osamdesetih i devedesetih SCCA realizovao u domenu vizuelnih umetnosti. godina, civilno društvo se globalno postavilo u Ukoliko dodamo da je B92 zapravo takođe bio i poziciju primarne ciljne grupe za ostvarivanje po- glavni medijski sponzor ovih umetničkih događa- litike najvećih investitora i agencija za razvoj, na- ja, može se lako razumeti da je, kada se transformi- vodno samo da bi se omogućio politički pluralizam sao u privatnu kompaniju, izmenio i diskurs neza- i pravo na demokratski izbor, ali je to u stvari bio visne umetničke scene, u potpunosti ga čisteći od način da se kontrolišu vlade pojedinih država i da ideološki neprimerenih sadržaja i pristupa. se obezbedi neometan put društava koje one vode ka regulisanom tipu demokratije, sa neizbežnim Pojavljujući se na sceni tek nakon povlačenja Soros neoliberalnim ekonomskim politikama. Čak je, u fundova i promene u kulturnoj politici u Srbiji, koja tom smislu, i ne tako davni Izveštaj o svetskom ra- se kretala ka inkorporiranju ranijeg NVO sektora u zvoju, za 2002. godinu, koji je Svetska banka izdala domen javne administracije (gde je najupadljiviji pod nazivom Građenje institucija za tržište, bio oku- primer kolektivnog transfera ljudstva SCCA u Muzej piran razvijanjem institucija i ‘dobrom vladavinom’, savremene umetnosti), Ilegalni poslastičari nisu svo- je strategije gradili u odnosu spram (jedva posto- jećeg) lokalnog sistema umetnosti (kao što je to bio slučaj sa Todosijevićem), niti u odnosu na dr-

10] Cox, R: „Gramsci, hegemony and internation- al relations: an essay in method” u Gill S. (ed.): Gramsci, Hegemony and International Relations, 11] World Bank 2002: World Development Re- Cambridge: Cambridge University Press, 1993, port 2002: Building Institutions for Markets, New strana 62. York: OUP, strana 99. 45 žavnu administraciju korumpiranu etnonacionali- svih osnovnih vrednosti, verovanja i društvenih stičkom ideologijom (što su umetnici radili tokom normi nekadašnjeg socijalističkog društva15. Taj devedesetih). Meta njihove kritike je bila potpuna proces se odvijao kako na nivou promena u unu- dominacija anestezirane i u potpunosti depolitizo- trašnjem organizovanju vođstva prvo nevladinih, vane urbane kulture, promovisane putem B92, koji pa potom i vladinih organizacija, kao i na nivou je trenutno, na primer, lokalni producent Big Brot- društvenih promena. Budući da nam se „društveni her emisije. Naime, B92 im se ukazivao kao to što svet primarno prikazuje kao nataložen skup druš- postavlja pravila koja nameću modele društvenog tvenih praksi koje se prihvataju takve kakve jesu, ponašanja i interakcija u lokalnoj urbanoj struktu- bez prespitivanja činova njihovog uspostavljanja”16, ri, putem omogućavanja /proizvođenja „informa- ni društveni svet državnog socijalizma uglavnom cija o tome kako bi [akulturisani] ljudi trebalo da nije bio razmatran u svom uspostavljajućem as- se ponašaju u nekoj datoj situaciji”, strukturišući pektu. Posledica toga je da je njegov emancipator- time lokalne kulturne izbore mladih i uspostavlja- ski aspekt previđen i da nije uzeto u obzir da uko- jući načine da se postane „priznat od strane onih liko se sloboda definiše kao sloboda od javnih koji su članovi relevantne grupe kao pravila kojima ograničenja, ukoliko se efikasnost definiše kao pre- se drugi povinuju u tim situacijama”.12 duzetnička, ukoliko se vrednost pravednosti vezu- je uglavnom za balans u rešavanju etničkih kon- flikta, dok se materijalni prosperitet vrednuje po Politika zbrinjavanja i reparacije sebi i izvan društvenog konteksta, mnogi delovi društva će biti deprivilegovani i ograničeni nižim U okviru prakse koja se naziva Institucionalnom nivoom svojih društvenih i fizičkih sposobnosti. kritikom u vizuelnim umetnostima, institucijama se uglavnom smatraju izlagački prostori poput Postavljanje takvog zadatka izvršili su politikolozi muzeja i galerija, ili izlagački događaji, poput festi- i ekonomisti iz regiona, koji su, u periodu nepo- vala i bijenala. Ali, u nešto opštijem smislu, termin sredno nakon 1989, kao što to Erih V. Strajsler na- institucija se može vezati i za „sistem pravila, vero- glašava, bili snažno „inspirisani najranijim kritika- vanja, normi i organizacija koje zajedno generišu ma socijalzma, Ludviga fon Misesa i Fridriha fon regularnost (društvenog) ponašanja”13, tako da se Hajeka, te koji su verovali da „socijalizam nije ni ti prostori i događaji vide samo kao materijalni ko- trebao da bude uspostavljen, jer je već od nastan- relati njihovih institucionalizujućih praksi. S druge ka bio osuđen na propast “17. Većina politikologa i strane, pored njihovog generativnog potencijala, ekonomista iz regiona koji su delili sekularne i ne- institucije takođe uključuju i „svaku formu ograni- nacionalističke stavove, bili su pozvani u savete čenja koje ljudi uspostavljaju da bi oblikovali me- onih fondacija koje su počinjale da investiraju u đuljudsko saobraćanje”14. Konačno, videli ih mi kao region, pozivajući se na viziju civilnog društva kao endogene i samouspostavljajuće pojave, ili kao autonomne oblasti za slobodno udruživanje, ne- spolja nametnuta ograničenja ponašanju, delova- zavisnog od državnog uticaja, u kojoj su se svi ra- le one iz javnog, privatnog ili sektora civilnog druš- zličiti interesi društvenih grupa koje su bile zapo- tva, one svakako određuju i nameću vladajuće stavljene tokom socijalizma mogli biti zadovoljeni modalitete upravaljanja. na slobodan način. NVO sektor je bio zadužen da za to obezbedi institucionalni okvir, te je postao i Zadatak da se Srbija uspostavi kao liberalno-de- privilegovan u oblasti podrške demokratiji. mokratsko društvo, koje slobodu, efikasnost, prav- du i materijalni prosperitet vidi kao svoje osnovne vrednosti, imao je kao svoj posredni cilj i uništenje 15] One su bile najjasnije iskazane političkim sloganima kao što su: „bratstvo-jedinstvo”, „socijalističko samoupravljanje”, “politika nes- 12] Knight, J; Institutions and Social Conflict, vrstanosti”, i “suverenost i nepromenljiva priro- Cambridge: Cambridge University Press, 1992, da spoljašnjih granica zemlje”. strana 54. 16] Laclau, E: “Introduction’, in Laclau, E. (ed.): 13] Avner, G: Institutions and the Path to the The Making of Political Identities, London: Verso, Modern Economy. Cambridge University Press, 1994, strana. 3. 2006, strana 30. 17] Streissler, E.W: “What kind of economic lib- 14] North , D: Institutions, Institutional Change eralism may we expect in ‘Eastern’ Europe’?” and Economic Performance, Cambridge: Cam- East European Politics and Societies, No, 5, 199 1, bridge University Press, 1990, strana 3. strana 197. 46 To je na najsnažniji način bilo prisutno u tretmanu Najlogičnija i najočekivanija institucionalizujuća civilnog sektora u državama koje su bile (a neke i praksa usmerena ka obrazovanju organskog inte- dalje jesu) u procesu uspostavljanja na teritoriji lektualca za sve one koji su iskazivali otpor spram bivše Jugoslavije. Budući da se tokom prethodne politike novih političkih partija u Srbiji na samom dekade tamo odvijao krvavi rat, civilni sektor, po- počektu rata i konačnog raspada jugoslovenske sebno onaj u domenu kulture, bio je donorski po- državan uglavnom za angažman u nizu aktivnosti koje su sprovodile svojevrsnu politiku zbrinjavanja i reparacije. Time je trebalo da traumatizovanima obezbede simbolički zaklon, te da ujedno demon- striraju i nesposobnost državnih institucija za tako nešto i promovišu vrednosti kulturalnog humaniz- ma liberalnog Zapada. Na kraju rata, mnogi od ovih aktera civilnog sektora su prešli u državni, ili su se prosto pretvorili u firme.

„Balkanski rat nije uništio samo stare granice na Balkanu,” pisao je Lav Trocki marta 1913, u vreme kada je bio ratni izveštač sa balkanskog fronta, do- dajući da je taj rat „takođe trajno uzdrmao balans među kapitalističkim zemljama Evrope.”18 Taj ba- lans, uzdrman početkom dvadesetog veka, u vre- me u kome su se političke imperije na teritoriji Evrope postepeno balkanizovale – raspadale na veliki broj međusobno suprotstavljenih teritorijal- nih jedinica – bio je ponovo uspostavljen kao po- sledica takozvanog „novog Balkanskog rata” kra- jem veka. Kako je sistem državnog socijalizma postajao sve razoreniji, te nekadašnje imperije su se u ekonomskom smislu ponovo uspostavljale, dok se Jugoslavija balkanizovala. URBAZONA, Katalog

Organski intelektualci bez ikakvih organskih referenci države je bila osnivanje Centra za antiratnu akciju. To se desilo 15-og jula 1991, kada je više alterna- Stjuart Hol je pre nekog vremena napisao stav koji tivnih organizacija, kako su se u to vreme lokalno bi se mogao uzeti i kao opis pozicije u kojoj su se nazivale, uspostavilo institucionalni okvir koji je neki od činilaca u oblasti kritičke kulturne produk- trebalo da predstavlja „sve one koji nisu hteli da cije nalazili u poslednjih petnaest godina. „Poku- uzmu učešća u ratu”20. Lista tih organizacija je sle- šali smo da pronađemu neku praksu instituciona- deća: Evropski pokret u Jugoslaviji, Unija jugosloven- lizovanja … koja bi proizvela organskog intelektu- skih demokratskih inicijativa, Ženski parlament, alca”, pisao je on o vremenu 1970-ih, „mi smo or- ganski intelektualci bez ikakvih organskih referen- ci … pripremljeni smo da zamislimo, oblikujemo ili simuliramo takav odnos u odsustvu: ‘pesimizam 19] Hall, S: “Cultural Studies and its Theoretical intelekta, optimizam volje”.19 Legacies,” in: Grossberg, L, Nelson, C, and Tre- ichler, P. (eds.): Cultural Studies, London: Rout- ledge, 1992, strana 281. 20] I blok moći koji je vodio Milošević i takoz- vana Ujedinjena opozicija, koju su vodili SPO i Demokratska stranka, bili su umešani u političku mobilizaciju za rat u bivšpj Jugoslaviji, i to je bio 18] Trotsky, L: The Balkan Wars 1912-13, New razlog za druge političke snage da se klone York: Monad Press, 1980, strana 314. partijske politike. 47 Partija žena, Helsinški komitet u Jugoslaviji, Helsinš- nalnom elektronskom brodkastingu, te, konačno i ki parlament građana i Forum za etničke odnose. uspešne privatne kompanije. Novoosnovani Centar za antiratnu akciju je takođe obezbedio prostor za kulturne aktiviste, inicirajući, Budući da su se elementi novog civilnog društva u oko godinu dana nakon osnivanja, prvi od niza Srbiji devedesetih formirali u okviru potpuno kon- antiratnih kulturnih događaja, koncert pod naslo- taminiranom neoliberalnom političkom imagina- vom: Ne računajte na nas. Koproducent tog doga- cijom, mnogi od kulturnih radnika koji su još uvek đaja je bio Nezavisni radio B92, koji je polako od delili radikalno emancipatorne ideje su se na neki Centra preuzimao predstavničku ulogu, budući da način osećali sve više izolovanim od aktuelno po- je bio podržan od strane urbane mladeži, kao i ve- stojećih institucionalnih praksi. To se pokazalo likog broja studenata tokom studentskih protesta ispravnim u mnogim slučajevima, budući da su se 1991. i 1992. NVO uglavnom pretvorile u firme, kao, na primer Beogradski krug, koji sada ima poziciju izdavačke Za razliku, na primer, od časopisa Republika, ili ča- kuće, menjajući i način na koji, kao izdavač, potpi- sopisa Beogradski krug, kao i Beograskog kruga in- suje časopis kao svoje izdanje, od nekadašnjeg: telektualaca, kao osnivačkog tela za magazin i ini- „Beogradski krug: časopis nevladine neprofitne cijatora debata o društvenim i političkim pitanjima organizacije Beogradski krug” (broj 0/1994) pa do tog vremena, koji su bili okrenuti nenacionalistič- današnjeg: „Beogradski krug: časopis nevladine kim intelektualnim elitama koje su tokom rata neprofitne nepolitičke organizacije Beogradski ostale u zemlji (a koje su bile brojčano gotovo be- krug” (broj 1-4/2003). značajne), B92 je, od samog početka, primenio različite populističke strategije, koje su se pokaza- le kao više nego uspešne. U vreme kada je jedan Volim te kao B92 od ključnih članova redakcije časopisa Republika objavio studiju pod nazivom Srpski populizam – od Profil proizvođača u području kulture koji je B92 marginalne do dominantne pojave, u kojoj je taj favorizovao od samog početka, lako je shvatljiv fenomen isključivo vezivao za domen desničarske kroz opis jednog od (grupnih) učesnika serije izlož- politike i folkorne kulture (proleća 1993.), B92 je bi instaliranih na zidu kancelarije koju su svojevre- započeo sa projektom Urbazona, koji je, koristeći meno (u periodu od 1994. do 1996.) delili glavni se fondovima Soros (Otvoreno društvo) Fonda, mo- urednik Veran Matić i direktor Saša Mirković. Taj bilisao urbanu mladež kroz različite popularne opis je u katalogu priložila Darka Radosavljević, kulturne akcije u različitim prostorima, dobijajući koja je tada vodila većinu projekata vizuelne umet- pozitivan feed-back čak i od opozicionih političkih nosti na B92. U tekstu o grupi Klipani u pudingu, partija, kao i mogućnost da kao namenski prostor navodi se da je reč o grupi “sačinjenoj od momaka dobije Rex, nekadašnji prostor lolalne Jevrejske za- odraslih u samom centru grada... oni su redovni jednice. Nešto kasnije, 1995. godine, Beogradski posetioci Kinoteke, koncerata klasične muzike, od- krug je takođe dobio prostor za aktivnosti slične lično poznaju Kalemegdan i urbane tajne Dorćo- namene, i nazvao ga Centar za kulturnu dekonta- la... prave kolaže, crtaju, snimaju video filmove, minaciju, ali, budući da je bio vezan za elitističke pišu prozu i poeziju.21 kulturne programe, nije zadobio uticaj kao Rex. Drugim rečima, ovi fini urbani mladići su već svo- U vreme masovnih građanskih protesta u Beogra- jim poreklom i društvenim navikama stekli kultu- du, 1996. godine, B92 je bio smatran za glas bun- ralne kompetencije koje ih kvalifikuju za polje tovničke omladine grada Beograda, koji je već par produkcije koje će potom biti distribuirano putem godina bio pod upravom anti-miloševićevske ko- moćne mreže B92, i to svakome ko želi da bude alicije takozvanih opozicionih partija. On je uspo- akulturisan na takav način. Nema ničeg daljeg od stavio i video produkciju, organizovao masovne ransijerovskih arhiva proleterskog sna, koji sakuplja rejv žurke, i postao izvršni producent svih izložbe- i prikazuje snove i misli ljudi i žena koji su nameri- nih projekata lokalnog Soros Centra za savremenu li da teorijski konceptualizuju, ili kroz književne umetnost, da bi tokom protesta mobilisao i do radove izraze moralna, intelektualna, socijalna, 700.000 ljudi istovremeno, na primer kada mu je trećeg decembra te godine ukinuta frekvencija. 21] Radosavljević, D: Pogled na zid, 1994 -1996, Postao je dominantan nevladin elektronski medij, Umetnici i kritičari, pref cat, Belgrade: B92, 1996, da bi vrlo skoro došao i do pozicije lidera u regio- strana 21. 48 estetska i politička iskustva eksploatisanih, bivaju- od oponenata bloka moći koji je vodio Milošević ći time i otpadnici od svoje klase i uljezi u eminet- usmerio ka tome da se libidinalno vežu za medije no buržoaskom području. kao što je B92: „više od infomacija koje su ovi me- diji pružali, publika je želela da oseti slobodu pri- Nema ničeg udaljenijeg ni od sfere iskustva radnič- stupa mnoštvu izvora informisanja”25. Mnogi od ke klase, ili sfere iskustva omladine koja nije kon- njih su prosto želeli da budu u poziciji da pokažu centrisana u gradskim centrima od kulturne pro- svoj ukus i izbor u pitanjima muzike ili tipa medij- dukcije B92. Zapravo, politika B92 nije nikada ni skog pojavljivanja, i B92 je bio naprosto mnogo bila vezana za produkciju veza solidarnosti ili lana- više privlačan u tom smislu, prodajući savremeniji ca ekvivalencije među marginalizovanim grupama, način života. On je svojoj publici pružao osećaj ra- već za gradnju sistema paralelnog onome koji je zličitosti, bivanja neparohijalnim, i izdvajanja od izgradila oligarhija oko Miloševića22, i to na način proseka. Ali čak i tome je kraj. B92 je sada komer- koji je davao ogledalnu sliku njihovih strategija. cijalna medijska kuća koja prikazuje sapunske ope- B92 je prosto ušao u blok moći koji je postao to što re i kvizove, reality show emisije i MTV spotove. se kasnije zvalo Druga Srbija23, čekajući da dati si- Napredak je u tome da oni koji su učestvovali u stem upadne u organsku krizu, kojoj su potpoma- njegovoj privatizaciji nemaju finansijskih proble- gala strana vojna uplitanja i ekonomski i diplomat- ma u svojim ličnim životima. S druge strane, oni i ski pritisci, pa da preuzme to sve što bi se moglo dalje povremeno posećuju konferencije i pričaju o tada preuzeti. starim dobrim danima građanske borbe. Tako, va- ljda, funkcioniše kapitalizam. Pitanje je samo da li Stalno prisustvo i uticaj B92 produkcije u uspostav- možemo da zamislimo drugi sistem? ljanju kulturne paradigme je imalo i još uvek ima učinak oruđa za kulturalizaciju i estetizaciju, pa čak i anestetizaciju javnog neslaganja. Stoga su kasni- je generacije aktivista u području umentosti i kul- 25] Gordy, E. D: The Culture of Power in Serbia, ture, kao što su Ilegalni poslastičari, stalno napada- University Park, PA: The Pennsylvania State Uni- le B92 kao nadzorni organ koji staje na put aktiv- versity Press, 1996, strana 99. nostima koje zaista stavljaju u pitanje lokalni kul- turni, društveni i politički status kvo. Stoga, u stvari, cinične rime jedne od pesama koje izvodi Tobićtobić iz Ilegalnih poslastičara (Volim te kao B92)24 kritički reflektuje zapovesti sistema koji us- postavlja jedan definitivan model urbane kulture (čiji distributer je B92) uz obećanje čvrstog, nepro- blematičnog urbanog identiteta. Stevan Vuković Emocionalna funkcija nezavisnih medija, što je na- ziv odeljka knjige Erika D. Gordija pod nazivom 1968. godina, Srbija. Studirao filozofiju i istoriju umetnosti. Kultura moći u Srbiji, objavljenoj 1996, nenamerno Diplomirao filozofiju na Filozofskom fakultetu u Beogradu. pokazuje konzervativizam emocija, koji je mnoge Postdiplomske studije iz teorije umetnosti na Jan van Eyck Akademie u Mastrihtu, Bauhausu u Desauu, i Amsterdamskoj školi za kulturnu analizu. Radi kao slobodan kustos, kritičar i teoretičar umetnosti od 1992. Dobitnik je nagrade ‘Lazar Trifunović’ za najbolji 22] Tu oligarhiju su vodila dva od tri glavna tekst o umetnosti objavljen na području Jugoslavije u 1998. godini, dnevna lista: Politika i Novosti, javna televizija kao i nagrade udruženja istoričara umetnosti za najbolju izložbu TV Beograd, kasnije RTV Srbije. realizovanu u Srbiji tokom 2002. godine. Član je međunarodnih 23] Druga Srbija je bila fantazmatična ideja o udruženja likovnih kritičara (AICA) i kustosa savremene umetnosti ujedinjenoj opozic iji Miloševiću, i isključivala je (IKT), kao i lokalnog (NUNS) i međunarodnog (IAS) udruženja sva druga rešenja za otpor. novinara. Uređivao je galerijske programe u Galeriji Remont i Galeriji 24] Dadaistička šansona koja se izvodi na O3ONE, a od 2004. godine je stalno zaposlen kao urednik likovnog akustičnoj gitari, na mnogim spontanim sk- upovima u ateljeu u Zemunu, u SKC-u, u Klubu programa SKC Beograd. Realizovao je niz međunarodnih izložbi, Akademija Može se besplatno skinuti sa njiho- prezentacija umetnika, i projekcija video radova i eksperimentalnih vog bloga, kao i mnogi drugi proizvodi njihovih filmova, od kojih je najznačajnija izložba održana u zgradi Secesije u aktivnosti. Beču, pod nazivom Belgrade Art Inc., 2004. godine. 49 Stevan vuković

Pessimism of the Intellect, Optimism of the Will

(Institutional Critique in Serbia and on the 21st of April 1975, as a poster, listing all art its Lack of Organic References) profiteers, including various social parasites and red bourgeoisie. Among others, it listed the follow- ing: “the factories that produce materials neces- Cultural Confinement – Under the Rod sary to artists, the firms that sell materials neces- of the Forest Warden sary to artists, their workers, clerks, sales person- nel, agents, etc... sales galleries and their staff, One of the seminal, even though still under inter- non-profit galleries, gallery owners, gallery admin- preted works of the Belgrade conceptual art in mid istration, gallery curators and their personal secre- seventies was Raša Todosijević’s Edinburgh state- taries and friends, the subsidized gallery council, ment, with a parallel title: Who makes a profit on art, the voluntary gallery council which collects money and who gains from it honestly1. It was published because they are not paid... the photographer who

1] In the same series, there was also a poster by conditions and the results of its work. The title of Zoran Popović, artist from the same generation the book was Self-management and the Workers and member of the same informal group of six Movement, and it comprised of three very ex- experimental artists, gathered around SKC Gal- tensive parts, the first being named Theoretical lery and belonging to what Ješa Denegri has Bases and Historical Experiences, the second one called The Other Line. The title of that, also text Revolutionary Abolishment of Capitalism and based poster, was For the Self-Management Art, the third Socialism. As the editor of the book, and it was advocating the politization of art Miloš Nikolić has stressed himself, that it was a against red bourgeoisie and state bureaucracy, kind of a response to the students movements which he has, in the aftermath of 1968 events, of 1968, both the May unrests in Paris and the considered as „the class enemy of the proletar- June unrests in Belgrade. In order to accomo- iat”. What is important to mention is that these date those demands put forward by active posters and the whole project of new political leftist youth, the system had to come up with art with experimental premises, for the society solutions, one of them being the very founda- in transition towards more horizontal manner tion of SKC, a former police cultural center, to of self-management practices in all areas of so- be a Students Cultural Center for experiments cial life, was conducted in SKC, under the direc- in art, as well as in various cultural and social torship of Dunja Blažević, art historian, and for- practices, and another, more ambitious, to pro- mer curator of the SKC Gallery, who has actually duce theoretical and ideological bases for full connected these artists and fostered their col- inclusion of allt the progressive and emancipa- laboration. Two years before this project, which tory groups into the decision making process was publicised in the frame of the October ’75 within the range of the present social system, exhibition in SKC Gallery, an interesting text- even if it would take considerable changes in book has appeared, printed by the Publishing the manner the system was operating. Texts Center “Komunist” from Belgrade, presenting from Marx to Gramsci, from Rosa Luxemburg a compilation of texts related to the struggle to Bakunin, and so on, were to help providing against capitalist restoration and bureaucratic with a set of tools to cope with that task, which and technocratic monopolies, with a goal to Tito himself, a life long president of the coun- overcome the fact that workers self-manage- try, president of the League of Communists of ment was instituted in Yugoslavia by the League Yugoslavia and the supreme commander of the of Communists, and find a way in which it can Yugoslav Peoples Army, did put forward himself get to be a really grass-root managed, and that in one of his speeches the working class would really appropriate the 50 shot pictures for the catalogue, the catalogue pub- lisher, the catalogue editor, the printing firm re- sponsible for printing the catalogue and invita- tions, the workers who set the print, bind the cata- logue and the invitation... the insurance compa- nies and their personnel, the night guards of mu- seums, galleries, collections, and this and that type of compilations or legacies, the organizers of sym- posia, meetings and art festivals... organizers granting scholarships for study abroad which are usually granted to the children of high govern- ment officials, to the children of the masked and hidden bourgeoisie in socialism... camouflaged ideologists, demagogues and reactionaries in in- stitutions, schools of higher learning, universities and academies who have a greater interest in power and influence in the art world than in edu- cation and culture, which don’t offer any kind of profit, and all those who shade their decadent, dated, reactionary chauvinist and bourgeois mod- els of art and culture with verbal liberalism, in or- der that they might attain positions outside of the art world, outside of culture, thus being both above and beyond art and culture....” It was about two hundred items on the list, including the very author of the text, with the explanation that “the that if all these factors really do depend on the author wrote this text in order to profit from the symbolic and financial capital gathered in the arts, good and bad in art”. then there is a functional system, so that the point Three decades later, the same text has appeared becomes only how to push it towards the Adapt- as the appendix of a book titled Management of able quality management, and get the most out of Art in Turbulent Circumstances2, authored by Milena what circulates among its constituent parts and Dragićević-Šešić and Sanjin Dragojević, university segments. lecturers and consultants in areas of cultural poli- Using the words of Robert Smithson, from his es- tics, cultural management and institutional up- say written back in 19724, one can state that what grading to Council of Europe, UNESCO and Euro- pean Cultural Foundation. It was printed in full 4] Smithson, R: The Writings of Robert Smithson, length, which is about ten pages, and was inter- edited by Nancy Holt, New York: New York Uni- preted as showing the “multifaceted interdepend- versity Press, 1979. That very text has been used ency of involvements into the field of culture as a by artists themselves, and was later on pub- basic question of its significance and the possibil- lished in Belgrade, under the title: “Omeđavanje ity of survival of all its visible and less visible kulture”, within his selected papers edited by proponents”3. In other words, it was used as a plain Zoran Gavrić, and published by the Museum of illustration of the holistic notion of the institution- Contemporary Art in Belgrade, in 1983. Dejan Sretenović, curator of Raša Todosijević’s ret- al structure, and the tactics of moving within it, rospective exhibition in the same museum in turning the artist’s argument against itself, stating November-December 2002, also quotes from that text, in relation to Raša’s use of objects and situtations in a manner that tend to go beyond 2] Dragićević-Šešić, M, and Dragojević, S: representation, seeing that as related to Smith- Menadžment umetnosti u turbuletnim okolnos- son’s statement, saying: “I am for art that takes tima, organizacioni pristup, Beograd: Clio, 2005, into account the direct effect of elements as pages 226 – 235. The book came out of several they exist from day to day apart from represen- years of their couching work in the field of cre- tation”. Sretenović, D: “Art as a Social Practice”, ative industries in South-East Europe, Near and cat. pref. to Thank You Raša Todosijević, MSUB, Far East November 2 – December 22, 2002, Belgrade: 3] Ibid, page 225 MSUB, page 115 51 has happened to Raša Todosijević is a kind of cul- the spaces that seemed as small autonomous tural confinement – neutralization, rendering the zones beyond the reach of dominant social and work to become “ineffective, abstracted, safe, and cultural paradigms were actually recruitment cent- politically lobotomized”, in order to be easily con- ers for future leaders of the joint Yugoslav com- sumable and understandable, or, in this specific munity. In the jargon of Lacanian terminology, it case, flattening it down to a simple positive state- was clear that “the structures of institutions are not ment, almost a kind of a shopping list of institu- merely imposed on the otherwise freely existing tional segments that make a system of art. Accord- practices”, but that “all practices are always part of ing to Smithson, that task, which was in this case some institutional structure beyond which no performed by instructors of cultural management, practice, no critique, no speech is possible.” 6 is of the warden curator, keeping art on a safe dis- tance from the political, just like the forest warden In that sense, Todosijević’s act of listing himself in Gramsci’s Prison Notebooks, where historical fu- among the ones profiting from art by criticizing all turists were presented as “a group of small school- those that profit from it, points to a very interest- boys who escaped from a Jesuit college, created a ing feature of his work that did open paths for the small ruckus in the nearby woods, and were next waves of local institutional critique. Namely, brought back under the rod of the forest his standpoint of active cynicism, as it was named warden”.5 by Ješa Denegri,7 always makes a difference be- tween the narrative subject and the subject of nar- ration8, of which the most illustrative example Trasformismo as the could be the text that makes part of his 1996 work, Local Institutional Logic featuring his self-portrait in a mocked Picasso style, in a typical newspaper illustration type of setting, The whole issue is not specific to the present state saying: “No, madam, I am not a Serbian artist, I am of affairs only. The institutional logic of the Socialist just part of the conceptual art piece called a Ser- Federal Republic of Yugoslavia, especially in the bian Artist”9. Whatever he does in his work, he does sector that was playing the role of the civil society it giving up the sovereignty of the position of artist (consisting, in the jargon of socialist self-manage- as producer, a sole creative source of the work, ment, of socio-political organizations and socio- putting himself into the position of critically re- political communities) was based on the principle flecting the desire of the system he got caught in. which Gramsci (borrowing from Croce) has called trasformismo, whereby actual and potential leaders In that very spirit, Pavle Ćosić, one of the Illegal and initiatives coming from the subordinate Confectioners, which is a group of cynical social groups were constantly being incorporated into and media activists that have started acting on the the dominant project, in order to prevent the for- local scene in the last couple of years, claims that mation of counter-hegemony. That counted for the since people in general believe into what they de- youth organizations, student organizations, unions sire to be true, his and his group’s (Ivan Tobić, Ale- of artists, writers and other cultural producers, cul- ksandar Belčević and Miloš Trajković being the tural communities based on common ethnic, reli- other members) role is to simply provide them gious and other grounds, and different self-organ- ized sub cultural groups. Even the so called dissi- 6] Kopjec, J: “Dossier on the Institutional De- dent intellectuals were in fact provided with ways bate: An Introduction”, in Lacan, Jacques: Tele- to be safe in their activities (without being sent to vision: a Challenge to the Establishment, London and New York: Norton, 1990, pages 49-50 some Gulag), for that was showing the difference 7] Denegri, J, untitled text in Todosijević, R: between the political system they were putting in Great Southern Performances, cat. pref. Belgade: question and the proper Stalinist system. SKC, January 1980, page 7 8] Which actually makes a difference within the In the times of former Yugoslavia, there was no paradigm of Ar tPractice in First Person, described outside of the system. All initiatives were appropri- by Ješa Denegri in the catalogue preface to the ated, sooner or later, by official institutions, and exhibition titled New Art in Serbia 1970-1980, held in MSUB, Museum of Contemporary Art Zagreb, and the Art Gallery in Priština, in 1983 5] Gramsci, A: Prison Notebooks, trans. Joseph A. 9] That work was reproduced in the catalogue Buttigieg and Antonio Callari, ed. Buttigieg, 5 of his retrospective exhibition in MCAB , on the vols., New York, 1992– , 1:211 page 19 52 with what they desire. Namely, their first interven- (3) They ideologically legitimate the norms of the tion was materialized as a widely distributed im- world order; age of a letter scanned from the local youth maga- (4) They co-opt the elites from peripheral countries zine with a long tradition, named Politikin Zabavnik and; in which a twelve year old boy asks how he could (5) They absorb counter-hegemonic ideas.10 manage to stop growing, because he is already too tall for his age. The point was in that the signature Namely, in late 1980s and 1990s, the civil society under the letter was changed into the one of Vlade has in general emerged as the prime target in Divac, basketball player of Serbian origin at the policy agendas of the major lenders and develop- time playing at NBA, who was publicly presented ment agencies, allegedly just in order to enable as a kind of a natural born player. In the next inter- pluralism and democratic political choice, but in vention it was the US Embassy that was targeted, fact to scrutinize what was seen as errant govern- by fake news, which got distributed via BBC, CNN, ments, and ultimately lead to regularized type of the Independent, and Observer, to many distant democracy, with inevitable neoliberal economic parts of the globe. The news were on the café-bar policies. It is still that the recent, 2002 World Devel- titled Osama, which would in Serbian mean just opment Report of the World Bank, bearing the title simply Lonesomeness, as being closed upon the of Building Institutions for Markets, was concerned intervention of US Embassy authorities, for the with institution-building and ‘good governance’, reasons of suspicion that it has to do something which would mean creation, protection, and en- with the first name of Bin Laden. Next news, a big forcement of property rights, promoting competi- hit in Croatia, was about the alleged fake Croatian tion, eliminating corruption, and using the powers car license plates, sold to Serbian tourists using of the civil sector to support the legitimacy of the their cars to travel to Croatian costs, for keeping public institutions that support markets.11 their vehicles safe... Specifically in the region of former Yugoslavia, a These and other fake news were distributed from vast number of nongovernmental organizations the fake B92 blog site (www.be92.mojblog.co.yu), (NGOs) and grassroots organizations (GROs) were in a wishful form without donor control and with- supported if showing commitment to the promo- out censorship such as the one existing on the tion of liberal democracy and economic liberalism. ‘real’ B92 site. When prevented to act on the B92 Radio, and, later on Television B92, which not only blog, closed for messages questioning the values came out of that sector, but was at it’s early times, of the civil society or legitimacy of international at the beginning of 1990s, even seen by many as a institutions such as The Hague Tribunal, they sim- kind of an organic intellectual of the urban Bel- ply made an improved one. grade youth in it’s protests against the hegemonic elite, was later on severely compromised as levels and proportions of financial aid to regional elec- Donor Interventions into the tronic media, channeled through it, did increase, Civil Society and the New Hegemony putting it into the position of a profitable compa- ny, and a regional leader in media business. The difference in the context of acting of artists of a generation of Todosijević and the one of the Il- On the other hand, what emerged in early 1990s, legal Confectioners is in the abandonment of the out of protest towards the existing institutional idea of a welfare state, sovereign and self sustain- frame, as the so-called Belgrade independent art able, so the situation the later were acting from community, mainly based on personal and collec- was significantly influenced by the aggressive tive human and material resourcing, was soon re- presence of different international institutions which have taken upon themselves the role of the former state institutions, in dominating the civil 10] Cox, R: “Gramsci, hegemony and interna- sector. As Cox has argued, their hegemonic influ- tional relations: an essay in method” in Gill ence is based on following things: S. (ed.): Gramsci, Hegemony and International (1) They embody the rules which facilitate the ex- Relations, Cambridge: Cambridge University Press, 1993, page 62 pansion of hegemonic world orders; 11] World Bank 2002: World Development Re- (2) They are themselves the product of the hege- port 2002: Building Institutions for Markets, New monic world order; York: OUP, page 99 53 cuperated by the local Soros Center for Contempo- regularity of (social) behavior”13, so that those rary Art, as the major articulating force in the non- places and events come to be seen as only the ma- governmental sector in visual arts, and B92, as the terial remains of their instituting practices. On the executive producer of all the events in exhibition other hand, besides their generative potential, the format and publications in printed format made by institutions also include “any form of constraint local SCCA funds in domain of the visual arts. If we that human beings devise to shape human add the fact that B92 was also the major media interaction”14. But, whether they are seen more as sponsor of those art events, one can easily under- the endogenously-appearing and self-enforcing stand that when it got transformed into a private or as exogenously given constraints on behavior, company, it took hostage the discourse of the inde- and whether they operate from the public sector, pendent art scene, cleansing it fully from the con- the private sector or the civil society, they deter- tents and approaches not fitted to its ideology. mine and enforce the modality of governance.

Appearing after the slow withdrawal of the Soros The agenda for making Serbia into a liberal-dem- funds and the shift of the cultural policies in Ser- ocratic society, that defines freedom, efficiency, bia, mainly toward incorporation of the former justice and affluence as core social values, had also NGO sector into the public administration (the as one of the transitory aims to destroy all the basic most striking example of that being a collective values, beliefs, and social norms of the former so- transfer of staff from SCCA to the Museum of Con- cialist state15. That process went both on the level temporary Art), the Illegal Confectioners did neither of changes in the internal governance of first non- build their strategies of critique in relation to the governmental, then also governmental organiza- (barely existing) local art system (as it was the case tions, and on the level of overall societal change. with Todosijević), nor in relation to the state ad- As “the social world presents itself to us, primarily, ministration as corrupted by the ethno-nationalist as a sedimented ensemble of social practices ac- ideologies (as the artists from the nineties did). cepted at face value, without questioning the Their main target of criticism was the complete founding acts of their institution”16, the social dominance of the anesthetized and fully depoliti- world of state socialism was also not considered so cized urban culture, as promoted by B92, which is much in its instituting aspect. The effect of this lack currently, for instance, the local producer of the Big of consideration was that it’s emancipatory aspects Brother reality show. Namely, B92 appeared to were neglected and that it was not taken into ac- them as setting up the rules that impose models count that if freedom is being defined as a freedom of social behavior and interactions in local urban from public constraints, if the notion of efficiency culture by providing/producing the “information is entrepreneurial, if the pursue of the value of jus- about how [acculturated] people are expected to tice is related to ethnic conflicts management act in particular situations”, structuring cultural mainly, and affluence valued for itself, out of social choices of the youth and instituting the manners context, quite some parts of population will be of being “recognized by those who are members quite underprivileged and limited by the unbal- of the relevant group as the rules to which others anced level of their social and physical abilities. conform in these situations”.12 That setting of that agenda was done by the po-

Politics of Repair or Redress 13] Avner, G: Institutions and the Path to the Modern Economy. Cambridge University Press, In what is usually called the Institutional critique in 2006, page 30 visual arts, the institutions are mainly considered 14] North , D: Institutions, Institutional Change as exhibition places such as museums and galler- and Economic Performance, Cambridge: Cam- ies, or exhibition events, such as festivals and bien- bridge University Press, 1990, page 3 nials. But, in a more general field, the term institu- 15] Those were exemplified in political slogans tion can be associated to “a system of rules, beliefs, such as: “brotherhood and unity”, “socialist self- norms and organizations that together generate a management”, “non-aligned foreign politics”, and “sovereignty and unchangeable nature of the external borders of the state” 12] Knight, J; Institutions and Social Conflict, 16] Laclau, E: “Introduction’, in Laclau, E. (ed.): Cambridge: Cambridge University Press, 1992, The Making of Political Identities, London: Verso, page 54 1994, page. 3 54 litical scientists and economists in the region, who states of Europe.”18 This equilibrium, disturbed at were, in the period from right after 1989, as Erich the time when the political empires on the terri- W. Streissler stresses, strongly “inspired by the ear- tory of Europe were getting Balkanized, was re- liest critics of socialism, Ludwig von Mises and gained as the effect of the so-called “new Balkan Friedrich von Hayek, who believed that “socialism war” by the end of the century. As the system of really should never have gotten “ off the ground state socialism was getting destroyed these em- for it should have failed from the start”.17 Most of pires got re-established in the economic sense, these political scientists and economists from the while the former Yugoslav state got Balkanized. region who were sharing secular, non-nationalist viewpoints, were invited to the boards of those the foundations which have started investing into the Organic Intellectuals Without region, under the flagship of a vision that present- Any Organic Point of Reference ed the civil society as an autonomous realm of as- sociational life, independent of the state influence, Stuart Hall wrote a while ago some lines that could in which all various interests of the social groups be as well used to describe the position of some neglected in the time of state socialism could be actors in the realm of critical cultural production pursued in a free manner. The major task for the in Serbia in the last fifteen years. “We were trying NGOs was to provide the institutional framework to find an institutional practice … that might pro- for that, and so they have become the privileged duce an organic intellectual”, he reflected on the civil society actors in terms of democracy assist- time of 1970’s, “we were organic intellectuals with- ance. out any organic point of reference … we were pre- pared to imagine or model or simulate such a re- That was in the strongest manner present in the lationship in its absence: ‘pessimism of the intel- handling of the civil sector in the states that were lect, optimism of the will’.19 (and some still are) in the process of formation on the territory of former Yugoslavia. Since a bloody The most logical and expected instituting practice, war was going on there through the last decade, aimed at forming the organic intellectual for all the civil sector, especially the one in the domain of those who were showing dissent to policies of new culture, was supported from the international do- political parties in Serbia at the very beginning of nors mainly for getting involved in the whole the war and the final dissolution of the Yugoslav range of activities that were pursuing a kind of a state was the establishment of the Center for Anti- politics of repair or redress. They were supposed war Action. It took place on the 15th of July 1991, to provide the injured with a symbolic shelter, when a number of alternative organizations, as demonstrating thereby both the inability of the they were locally called at the time, have estab- state institutions to do that, and also the values of lished an institutional frame that was supposed to cultural humanitarianism in the liberal West. By the represent “all those who did not want part in the end of the war, most of these agents from the war”20. The list of the organizations was the follow- civil sector actually got merged with the state in- ing: European Movement in Yugoslavia, Union of stitutions, or have simply turned to be compa- Yugoslav Democratic Initiatives, Women’s Parlia- nies. ment, Women’s Party, Helsinki Committee in Yugo-

“The Balkan war has not only destroyed the old frontiers in the Balkans,” wrote Leon Trotsky in 18] Trotsky, L: The Balkan Wars 1912-13, New March 1913, at the time a war correspondent on York: Monad Press, 1980, page 314 the Balkan front, adding that “it has also lastingly 19] Hall, S: “Cultural Studies and its Theoretical disturbed the equilibrium between the capitalist Legacies,” in: Grossberg, L, Nelson, C, and Tre- ichler, P. (eds.): Cultural Studies, London: Rout- ledge, 1992, page 281 20] Both the Milošević’s power block and the so called United Opposition, run by the Serbian Renewal Movement and the Democratic Party, 17] Streissler, E.W: “What kind of economic lib- were involved in political mobilization for the eralism may we expect in ‘Eastern’ Europe’?” war in former Yugoslavia, and that was the rea- East European Politics and Societies, No, 5, 199 son for other political forces to stay out of party 1, page 197 politics 55 magazine has published a booklet titled Serbian Populism – from Marginal to Dominant Phenome- non, in which he exclusively linked that phenom- enon with the domain of right wing politics and folkloric culture (spring 1993), B92 started with the Urbazona project, that, using funds from the Soros (Open Society) Foundation, mobilized urban youth through different popular cultural actions in vari- ous venues, gaining positive feed-back even from the oppositional political parties, and getting a chance to get Rex, a former Jewish Community Center for actions of a kind. A bit later, in 1995, the Belgrade Circle also got a space like that, naming it Center for Cultural Decontamination, but, reduced to mainly to elitist culture, it never acquires such an influence.

By the time of the massive civic protests in Bel- grade, in 1996, B92 was considered as the voice of the rebellious urban people of the city of Belgrade, then for several years run by the anti-Milosevic coalition of the so called oppositional political par- ties. It has established a video production, organ- ized massive rave parties, and became the execu- tive producer for all the exhibition projects of the local Soros Center for Contemporary Art, and, dur- ing the protest which has mobilized up to 700.000 people at the time, after being forcibly cut from URBAZONA, Akcija No. 7 the air on December the 3rd, it became the domi- nant non-governmental electronic media, soon to slavia, Helsinki Parliament of Citizens and the Forum become a leader in the regional electronic broad- for Ethnic Relations. It also provided space for cul- casting, and a privately owned company. tural activists, by initiating, in about a year after it was founded, the first of a number of anti-war cul- As the elements of the new civil society in Serbia tural events, which was a concert titled: Don’t of 1990s were getting to be formed in the frame- count on us. The event was coproduced by the In- work fully contaminated by the neoliberal political dependent Radio B92, which has slowly taken over imaginary, most of the cultural workers that were that representative role, being supported by urban still sharing some radically emancipatory ideas youth, and a large number of students during the were in a way feeling more and more isolated from student’s protests in 1991 and 1992. the actually existing institutional practices. It has proven right in most of the cases, for most of the In difference to, for instance, the Republika maga- NGOs became companies, such as, for instance, zine, or the Belgrade Circle Magazine, and the Bel- the Belgrade Circle, that now functions as a pub- grade Circle of Intellectuals, as the founding body lishing house, changing the way of signing its of the magazine and the initiator of debates over magazine, as a publisher, from: “The Belgrade Cir- social and political questions at the time, which cle: journal of the non-governmental and non- o were oriented mainly towards non-nationalist in- profit organization The Belgrade Circle” (N 0/1994) tellectual elites that have stayed in the country to: “Belgrade Circle: Journal of the nongovernmen- during the war (which were almost insignificant in tal, nonprofit and nonpolitical organization The o numbers), B92 has, from the very start, deployed Belgrade Circle” (N 1-4/2003). different populist strategies, which has proven to be more than successful. In the times when one of the leading members of the board of the Republika

56 I Love You as I Love B92 ond Serbia23, waiting for the present system to get into the organic crisis, quite assisted by foreign The profile of cultural producers fostered by B92, military, economical and diplomatic preassure, to from the very beginning, is easily graspable simply take over whatever could be taken over. through the description of one of the (group) par- ticipants in a series of exhibitions installed onto The constant presence and influence of the B92 the wall of the office shared by Radio B92’s at the production was establishing a cultural paradigm time (the exhibition went on from 1994 to 1996) that was and is still used as a tool for the cultur- editor-in-chief Veran Matić and director Saša alization and aesthetization, or even the anesthe- Mirković, by Darka Radosavljević, who run most tization of public dissent. Therefore, the following of the visual art projects for B92 in 1990s. In the generations of activists in the field of art and cul- text on the Bumpkins in Pudding, Darka ture, such as the Illegal Confectioners, kept target- Radosavljević writes that they form a group “made ing B92 as the policing force which constantly of young men who grew up in the very center of stands on the way of activities that really put into the city… they are regular visitors of the Cine- question the local cultural, social and political sta- matheque, classical music concerts, Kalemegdan tus quo. Therefore, the cynical lines of one of the park, and are familiar with the very urban secrets songs performed by Tobićtobić from the Illegal of Dorćol”.21 Confectioners (I Love You as I Love B92)24 in fact critically reflects a commandment of the system, In other words, these nice urban youngsters al- prescribing a definite model of urban culture (the ready, by their origin and social habits, had cul- one exclusively distributed by B92) carrying in it- tural competences to qualify them to get into the self the promise of a fix, non-problematic urban field of production that would then be distributed identity. via the powerful B92 network to whoever wants to become acculturated that way. There is nothing The Emotional Function of Independent Media, further from the Rancierian emancipatory project which is the title of a chapter in Eric D. Gordy’s on the archives of the proletarian dream, putting book The Culture of Power in Serbia, published in forward dreams and thoughts of men and women 1996, unintentionally shows the conservatism of who attempted to conceptualize in theory, or ex- emotions, which got quite some of the opponents press in literary works, the moral, intellectual, so- to Milošević led power block to libidinally attach cial, aesthetic, and political experiences of the to the media such as B92: “more than the informa- exploited, being both renegades of their own pro- tion these media offered, members of the audi- letarian class, and transgressors into occupations ence wanted the feeling of having access to a which were reserved for the bourgeois. variety of sources”25. Many of them simply were striving to be in a position to show their taste in There is also nothing as distant as the B92 cultural music or preferences in media appearance, and production both to the sphere of experience of B92 was so much more appealing, selling a more the working class, or the sphere of experience of up to date lifestyle. It gave to its audience a sense youth not concentrated in urban city centers. In of distinction, of being non-local, non-parochial, fact, the policy of B92 was never related to the and of not belonging to the average. But even production of solidarity links or chains of equiva- lences between the marginalized groups, but building a system parallel to the one of the oligar- 23] Second serbia was the phantasmatic idea of the united opposition to the hegemony of chy around Milošević22, in a manner that was mir- Milošević, and exclusion of all other solutions roring their strategies. B92 simply got into the that that power block that was going for the so called Sec- 24] Dadaist chanson performed on the acous- tic guitar, on many spontaneous gatherings in a studio of a friend artist, at SKC, and at the 21] Radosavljević, D: A Look at the Wall, 1994 club of the Academy of Fine Arts. It is download- -1996, Artists and Critics, pref cat, Belgrade: B92, able for free from their weblog, and also from 1996, page 22 his weblog, as most of other products of their 22] That oligarchy was running two of three activities major daily newspapers: Politika and Novosti, 25] Gordy, E. D: The Culture of Power in Serbia, and the public television TV Belgrade, later TV University Park, PA: The Pennsylvania State Uni- Serbia versity Press, 1996, page 99 57 that is now gone. It is simply a commercial media house that is showing sitcoms and quizzes, reality shows and MTV type of music videos. It is only that the ones who did participate in its privatization have no financial problems in their personal lives. On the other hand, they still, from time to time, go to conferences to talk about the brave old days of civic struggles. That is, probably, how capitalism works. The question is how could we envision a different system?

Stevan Vuković

Born in 1968, in Serbia. Studied philosophy and art history. Graduated from the Belgrade Faculty of Philosophy. Attended postgraduate studies in the Theory of Art at the Jan van Eyck Akademie in Maastricht, at Bauhaus in Desau and at the Amsterdam School for Cultural Analysis. Since 1992 has been working as a freelance curator, critic and art theoretician. Winner of the award “Lazar Trifunović” for the best text on art published in the territory of Yugoslavia in 1998, as well as awards by the Association of Art Historians for the best realized exhibition in Serbia in 2002. He is a member of international associations of art critics (AICA) and curators of contemporary art (IKT), as well as the local (NUNS) and international (IAS) associations of journalists. He edited gallery programmes in the Gallery Remont and Gallery O3ONE, and since 2004 he has been a fulltime editor of the art programme of the Students’ Cultural Centre of Belgrade. He realized a number of international exhibitions, presentations of artists and showings of video works and experimental films, out of which the most important is the exhibitions that took place in the Secession Building in Vienna, under the title of Belgrade Art Inc., in 2004. 58 Stevan vuković

Rad za svakoga i ni za koga – o jednom umetničkom eksperimentu u medijskom polju

Prvog oktobra 2005, na otvaranju beogradskog gama, obećavala je nešto drugo od završetka u Oktobarskog salona, naznačajnijeg lokalnog mejn- samo još jednom članku, istog tipa u istom časopi- strim umetničkog događaja, desio se incident, koji su, koji je samo ukazao na i izložio ogoljeni medij- je odmah ’normalizovan’ time što mu je dodeljena ski format u kome su se i sve dotadašnje informa- specijalna nagrada žirija. Njegov učinak je amorti- cije o ovoj saradnji i vezi pojavljivale u javnosti. zovan time što je sveden na inventivan način pred- stavljanja umetničkog rada, iako je, u stvari, dobar Očekivana je još jedna simplifikovana ilustracija deo publike, i to kako profesionalne, tako i opšte, dominantnog političkog narativa o ’istini i pomire- uključujući čak i neke od osoba koje su bile uklju- nju’, ovog puta relizovana u formatu kvazi doku- čene u samu organizaciju Salona, bio krajnje neod- mentarnog multimedijalnog umetničkog projekta lučan da li da poveruje u tako nešto, ili da prosto to sa dubokim introspektivnim sadržajem koji kod što je zatečeno na mestu rada shvati kao marke- posmatrača izaziva empatiju, te i napad savesti i tinški dobro odrađeno pokriće za propali umetnič- moralnih osećanja putem neposrednog ispoved- ki projekat. Stvar je bila u tome da, iako je stav ku- nog načina izražavanja. Drama nemogućeg odno- stosa o principima selekcije radova bio jasno defi- sa između dvoje umetnika, uhvaćenih u zamke nisan kao usmeren ka onima koji deluju u „među- njihovih društvenih pripadnosti i orjentacija, mo- prostoru koji se javlja u dihotomijama tipa: auratič- gla je biti uzdignuta u metaforu žrtve politike iden- no – kič, elitno – popularno, ti – ja, teorija – praksa...” titeta, vođene od strane društvenih grupa kojima i insistirao je na jednostavnosti njihovog dejstva, oni pripadaju, usred sporog i bolnog transforma- puki čin bacanja na pod galerije oko hiljadu prime- tivnog procesa ka integraciji u civilno društvo za- raka lokalnog izdanja glavnog regionalnog senza- snovano na poštovanju razlika. Tako bi se katarzi- cionalistički usmerenog tabloida, koji je u sebi sa- čan efekat postigao, i ovo dvoje umetnika bi nam držao članak o razlazu između dvoje umetnika koji pomoglo da speremo sa sebe neke traumatske su bili uključeni u projekat, i to u prostoru, u kome ostatke neželjene prošlosti. je njihova zajednička instalacija trebalo da bude predstavljena, nije zadovoljio mnoge od njih. Strateško predstavljanje pripremne faze ovog pro- jekta je čak stvorilo svojevrsnu ’narativnu nužnost’ To sve baš i nije odgovaralo predstavi koja se već za čisto razrešenje cele stvari, izvan polja medija u stvorila o mogućim modalitetima dugo očekiva- kome je inicirana, tako da je rutinska interpretativ- nog razrešenja dramatičnog toka ’slučaja’, konstru- na aktivnost posmatrača koji su imali neke osnov- isanog putem tri uzastopna članka u časopisu, ne informacije o ovim umetnicima i samom pro- objavljena u formatu ’priče o poznatim ličnostima’, jektu bila prilično poremećena karakterom samog i vizuelno dopunjena paparaco fotografijama. Ova otvaranja i činjenicom da je krajnji proizvod pro- žanrovski perfektno razvijena tema šokantne lju- jekta ostao u polju medija. Posle tri članka u časo- bavne afere između već sredovečnog i oženjenog pisu ‘Svet’, sledio je još jedan, istog tipa, i primerci srpskog slikara, glumca, radio voditelja i posveće- tog broja su činili instalaciju u galerijskom prosto- nog fudbalskog navijača, koji je čak svojevremeno ru, te još jedan, već peti i konačni, u kome se izve- bio optuživan za koketiranje sa izvesnim kulturnim štavalo o tom događaju na otvaranju. I to je bilo krugovima koji dele nacionalističke stavove, i mla- sve. Poenta rada je bila upravo u tome da nikada de perspektivne bosanske umetnice, nekadašnje ne napusti polje medija, već da pokaže kako ono manekenke, koja je svoje tinejdžerske dane prove- prožima polje kulture, koje je manje ili više kon- la u Sarajevu okruženom srpskim paravojnim sna- stantno podložno uticaju i izloženo dejstvu diskur- 59 sa, vrednosti, logike, sistema značenja i oblika ka- detalne uloge autora kao nekoga ko tu priču za- pitala koji su vezani za ili proizilaze iz polja biznisa, pravo osmišljava. politike i medija. Ovaj rad je bio konstituisan kao čisto medijski fenomen, zahtevajući određenu me- U tom smislu, i u ovom radu je Đurić u kooperaciji dijsku pismenost da bi se razumeo, ali ta medijska s Kamerićevom koristio format stranice tabloida na pismenost je samo praktična sposobnost, koja je način na koji je koristio format platna u svojim ra- porediva sa ‘osećajem za igru’ nekoga ko se bavi nim radovima, kao u slučaju njegove prve široko sportom, a koja mu omogućava da razlikuje razli- poznate slike nazvane „Dva najveća srpska slikara čite sisteme pravila čije poznavanje nekoga kvali- u brišućem letu“. Naime, on te formate koristi kao fikuje da se u datu igru aktivno uključi, dakle ne ekran na koji projektuje specifičan režim figuralnih samo kao pasivni posmatrač, nego kao neko ko i slika, koje potom izvode priču sa njegovim likom, sam može da tu igru igra na nekom nivou. svedenim na nivo karaktera, kao protagonistom, i ta se priča uvek vezuje za društvene pozicije i hije- U tom smislu, ovaj rad je istovremneo za svakoga rarhije, kao i stereotipe identiteta onih koji te po- i ni za koga. On je, na neki način, neposredno izve- zicije zauzimaju i ostvaruju svoje mesto u datim den iz Populističkog projekta Uroša Đurića, koji se hijerarhijama. Razlika dva navedena slučaja je bavio mehanizmima plasiranja ličnih fotografija u samo u tome da je u ovom drugom publika kojoj polje javnosti i različitim medijskim formama koje je omogućen pristup radu mnogo šira i mnogo to obično omogućuju, i to je sve u isti mah bilo raznovrsnija od one koja bi mogla na bilo koji na- čitljivo vrlo širokoj populaciji, i sasvim nečitljivo čin da se privuče radom galerijskog formata i u čak i profesionalcima u polju umetnosti. Razlog za prostoru koji je namenjen predstavljanju kulture. to leži u činjenici da je vrlo lako uvideti pozicije koje Uroš Đurić zauzima u polju kulturne i medij- Izbor tabloida u kome je rad realizovan je takođe ske produkcije, ali je potrebno mnogo više da bi se vrlo precizno izvršen, uzimajući u obzir njegovu shvatio način na koji se on sa tim pozicijama poi- istoriju, koja reflektuje sve bitne elemente priče o grava, koristeći stereotipe za koji se te pozicije, i promeni uloge medija u Srbiji tokom poslednjih njega lično, vezuju da bi proizveo narative o slože- par decenija. Časopis „Svet” je nasledio jedan od noj mreži odnosa između društvenog, medijskog značajnih studentskih časopisa iz doba državnog i ekonomskog kapitala, da bi ponudio veoma snaž- socijalizma, kada su ti časopisi bili ključni akteri ne stavove o aktuelnom položaju umetnika kao obrazovanja stavova među mlađom intelektual- proizvođača u raljama savremenog neoliberalnog nom populacijom. Bili su istovremeno kanali za društva, koje ga tretira kao socijalni i medijski fe- uvođenje raznih potkulturnih tema i političkih dis- nomen, a ne kao autora koji proizvodi društvene kursa koji su često bili veoma radikalni u emanci- vrednosti. patorskom smislu, a, sa druge strane, ti isti časopi- si su služili za regrutovanje kadrova za buduće Radovi Uroša Đurića i Šejle Kamerić, nastali u ovom mlade društvene rukovodioce. Sa kolapsom druš- okviru, izvedeni su iz refleksije na objektivne isto- tvenih hijerarhija državnog socijalzma, i preuzima- rije rada u području kulture i medija, otelotvorene nja studentskih i omladinskih medija od strane kroz sisteme, organizacije, kodove i hijerarhije koje novih promiloševićevskih političkih struktura, ovaj ih strukturišu, a koji su njima kao medijskim i ku- časopis se odvojio od zvanične strudentske orga- turnim radnicima poznati, kao i na one istorije koje nizacije i počeo da traži sebi mesto na medijskom su u nešto ličnijem smislu inkorporirane u habitu- tržištu. Da bi se dobro prodao, promenio je profil i se ljudi iz tih polja, kao lične sklonosti ka, kako je počeo da promoviše proizvode novih kulturnih i to Burdije pisao, određenom tipu „osećanja, opa- medijskih industrija, objavljuje paparaco fotogra- žanja, mišljenja, delovanja, shodno modelima koji fije i tabloidne priče o životima pop, folk i sportskih su interiorizovani tokom različitih procesa socijali- zvezda, medijskih ličnosti, novobogataša i uticaj- zacije.” Delovi ovih istorija se ponovo uvode u na- nih političara i javnih službenika. Veoma brzo je raciju koja koristi sliku i karakter samog autora, kao akumulisao neverovatan broj stalnih čitalaca i izra- nosioca priče. Upotreba slike i karaktera autora stao u medijski gigant, kompaniju koja sada objav- (umetnika) je pritom zasnovana krajnje pragmatič- ljuje 84 časopisa, među kojima je i nemački tinej- nim razlozima , to jest time da je lako moguće ko- džrski časopis „Bravo”, koji je u nelicenciranom, ristiti poverenje publike ka pričama u prvom licu, originalnom nemačkom izdanju bio u doba posto- tako da je uvek na delu neka vrsta spontane kon- janja gvozdene zavese osnovni kanal prodiranja fuzije između lika autora kao dela priče i transcen- zapadne popularne kulture na istok Evrope. 60 „Svet” je ultimativni lokalni tabloid, i to ne samo u sanskom umetnicom, bivšom manekenkom, čija je Srbiji. On takođe ima i crnogorsko, bosansko-her- vidljivost u javnom i medijskom polju Sarajeva i cegovačko i makedonsko izdanje, koji u nekom Bosne gotovo istovetna Đurićevoj u Srbiji. delu sadržaja bivaju prilagođeni i jezički izmenjeni, ali imaju istu ulogu na lokalnom polju medija. Uroš Sa stanovišta primerenosti mediju izvođenja, ovo Đurić kao javna ličnost i njegov lik su bili prilično nije bio projekat koji je naprosto veštački ubačen prisutni na stranicama svih ovih edicija, uglavnom u prostor popularnih medija, već vrlo suptilna in- zbog njegovih uloga u filmovima koji su dostigli tervencija u tačci sažimanja predstavnih prostora neverovatnu popularnost među mladim ljudima za kulturne, simboličke i ekonomske vrednosti u tokom devedesetih i kasnije. Stoga, sa jedne stra- svim javnim medijima, ne samo onim populistič- ne, njegov lik nije bio nepoznat čitaocima, dalje, kim. Ništa tu nije razvodnjeno u moralnu pouku o sam način na koji je projekat bio planiran da se ulozi medija u našim životima. Nema tu jasnog realizuje je odgovarao predstavnom formatu časo- metanarativa koji sve razrešava, već je u igri de- pisa, i, konačno, Đurić je imao otvoreni pristup monstracija načina da se onaj segment javne sfere redakciji, koja je mogla da odobri tako neku stvar kojim dominiraju mediji iskoristi kao medijum za kao formalu saradnju sa umetnikom i oficijelnom eksperimente u kontekstulano zasnovanoj umet- umetničkom institucijom kao što je to Oktobarski nosti. A to je daleko od sigurnog za autore. Budući salon, u realizaciji ovog rada. Stereotipna medijska da je u pitanju narativ u prvom licu, u kome su oni slika o Urošu kao čvrstom urbanom momku koji likom bili predstavljeni na prepoznatljiv način, i voli da se eksponira činila je sasvim prirodnim da uzimajući u obzir broj primeraka časopisa, uz do- se priča upakuje na način na koji je bila upakova- datne medijske komentare, na njih na svakom na, i zapravo, njeno objavljivanje je bilo medijski ćošku vreba neko ko će ih tretirati shodno datoj uspešno i u vrlo uskom smislu u kome je uspelo da medijski plasiranoj priči. I tu nema načina da se privuče pažnju obične publike putem afere o srp- zaštite tako što bi se sakrivali iza stava da je to skoj filmskoj zvezdi koja ima vezu sa mladom bo- samo umetnost.

61 Stevan vuković

A Work for Everyone and Noone – On An Art Experiment in the Media Field

On the first of October 2005, at the opening of the ies, was promising an ending different from just Belgrade October Salon, as the major local main another journalistic article in the same magazine, stream art event, there was an incident, which was a pure exposure of the media format in which the immediately ‘normalized’ by getting a special price first info’s on that case did appear. of the jury. It was pacified into something that was to be perceived just as an inventive manner of pre- What was generally expected was another blunt senting an artwork, yet quite some part of the au- illustration of the dominant ‘truth and reconcilia- dience, both professional and general, including tion’ political narrative, only this time in the format even some of the people involved in the very pro- of a quasi-documentary multimedia art project cess of organizing the Salon, could not decide if with deep introspective content that reaches for they would really go for that, or just consider what the viewers empathy, conscience and moral feel- they have encountered as a well marketed cover ings through its direct confessionary mode of ex- up for a failed art project. The issue was in that, pression. The drama of the impossible relation even the curatorial statement did make clear that between two artists, caught in the traps of their the basis for the selection of works was grounded social belongings and affiliations, could have been in “the space in-between which occurs in the di- elevated into a metaphor of the victims of iden- chotomies of the following types: auratic-kitch, tity politics of the respective social groups they elitist-popular, you-I, theory-practice… “, and has belong to, in the slow and painful transformation insisted on the simplicity of their impact, the sim- process towards being integrated into a civil soci- ple act of throwing about a thousand copies of the ety based on a respect of differences. In that man- local edition of the major regional sensationalist ner, the cathartic effect would be accomplished, tabloid, the issue containing an article on the per- and these two artists would help us washing away sonal and professional split between the two art- some traumatic remnants of the past. ists involved in the project, onto the floor of the very room dedicated to the presentation of their The strategic presentation of the preparatory joint installation, just couldn’t satisfy quite some phase of the project has even created a specific of them. ‘narrative necessity’ for a clear resolution of the whole issue, outside the media field, in which it All that did significantly diverge from thepossible was initiated, so that the routine interpretative modalities of the long expected resolution of the activity of the viewers in possession of some basic dramatic plot of the ’case’, constructed in the info on the artists and the project was quite chal- course of three consecutive magazine articles, in lenged when both the very opening event and the the format of a ’celebrity story’ visually supple- final installment of the work came to be contained mented with paparazzo photographs. This genre within the media field. After three articles in the of presenting the subject of a shocking love affair ‘Svet’ magazine, there was another, of the same between an already middle aged and married Ser- kind, published in the issue whose copies made bian painter, actor, DJ and dedicated football fan, the installation in the gallery space, and then the who was even at the times accused for affiliating final, fifth one, reporting on it, after the event. That with the cultural circles sharing certain nationalist was all. The point of the work was in fact that it attitudes, and a young upcoming Bosnian artist, would never leave the media field, but show how former fashion model, who has spent her teenage it traverses and dominates the cultural field, which years in Sarajevo, surrounded by Serb paramilitar- is being influenced by, and exposed to, in more or 62 less constant manner, the discourses, values, logics, narrator, reflected within the story, with his tran- meaning systems and forms of capital associated scendental role. with or emanating from the fields of business, gov- ernment and the media. The work constituted itself In that sense, also in this work, Đurić, in cooperation just as a media phenomenon, requiring certain with Kamerić, was simply using the format of the media literacy, which is, in fact, a specific practical tabloid page in the same manner he would use the sense, comparable to a sportsperson’s ‘feel for the format of a canvas at his early works, as in the case game’, that makes possible discriminating between of his first well known painting titled “The Two the various systems of rules that qualify someone Greatest Serbian Painters in Looping”. Namely, he to start up an active relation of the work, decipher- was using it as a kind of a screen upon which he ing it in a writerly, not just readerly mode. would project a specific regime of figural images, that would tell a story with his own character as a In that sense, this work is both for everyone and protagonist, and this story would always have to for no one. It was, in a way, directly derived from deal with social positions and hierarchies, and ste- Uroš Đurić’s Populist Project, that was dealing with reotypes on the identities of the ones that take mechanisms of popular placements of personal those positions and occupy respective places with- images into the public realm, and different types in the given hierarchies. Only this time the audience of mediatic devices that generally enable it, and was wider and much more diverse than the one he that appeared to be readable, on one level, by a could ever address by the use of gallery type of very wide audience, and, on another, almost un- works and the media space that is usually reserved readable even by the art professionals. The reason for the presentation of actual cultural issues. for that lies in the fact that it is very easy to see, judge and comment the positions Uroš Đurić takes The choice of the tabloid in which the work was as an author presents both in the field of cultural published was very precisely made, concerning it’s and that of media production, but it takes much history, which reflects all the major issues on the more to figure out the manner in which he then transformation of the role of media in Serbia in the plays with those positions, using the stereotypes course of several decades. The “Svet” magazine they are likely to be associated with to produce was the successor of one of the important stu- narratives on the complex net of relations between dent’s magazine from former state socialist times, the social, media and economic capital, in order to when these magazines were opinion-makers offer strong statements on the actual position of among younger intellectual population. They were the artist as producer in the jaws of the contempo- both channels for introducing a range of subcul- rary neoliberal society. tural issues and political discourses that were quite radical in the emancipatory sense, and, on the Works of Uroš Đurić and Šejla Kamerić, made in other side, recruitment centers for the future this frame, are derived both from the reflection of young social leaders. the objective histories of labor in the fields of cul- ture and media, as embodied in the systems, orga- With the collapse of state social hierarchies, and nizations, codes and hierarchies that structure the takeover of the student’s and youth media by them, which are familiar to the both authors, be- the new pro-Milosević political structures, it split ing media and cultural workers, and those histo- from any official student’s organizations and start- ries, that are in more subjective manner incorpo- ed looking for its place on the media market. In rated into the habitués of the people from that order to sell well, it has changed its profile and field, as personal dispositions towards, as Bourdieu started promoting the products of the new cul- wrote, “sensing, perceiving, thinking, acting, ac- tural and media industries, publishing paparazzo cording to models interiorized in the course of dif- photos and tabloid type of stories on the lives of ferent processes of socialization.” Parts of these pop, folk and sport stars, media celebrities, the histories get renarrated, using the image and the new rich and influential politicians and state offi- character of the author himself, as the bearer of cials. It has accumulated an enormous number of the narrative. The use of the image and the char- readers very soon, and has grown into local a me- acter of the author are based on the pragmatic dia giant, a company that is currently publishing choice capitalizing on the trust an average viewer 84 magazines, among which also the German has towards first person narratives, confusing, teenage magazine “Bravo” that had almost a quite spontaneously, the empirical subject of the mythical role in the cold war times, when it was 63

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“Svet” is the local tabloid, the one and the ultimate, just some art project artificially inserted in the PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO but not only in Serbia. It has also a Montenegrian, popular media, but a very subtle intervention into Bosnian and Macedonian editions, which differ in the chiasmatic point of every public media, not PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO some part of the content, but have same role in just the most populist ones, and that is of the in- PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO the local media field. Uroš Đurić’s character was tersection between the representational spaces PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO quite present on the pages of each of these edi- for the cultural, symbolic, and the economic val- tions, mainly for his role as an actor in the films ues. Nothing in the project got watered down to a PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO T that had enormous popularity among local youth moral tale on the role of the media in our lives. It PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIOPOR PORTFOLIO in the nineties and after. So, on one hand, his face has provided us with no clear-cut metanarrative PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO was not unfamiliar to the readers, then, the very that resolves all the problematic points in the manner the project was to be done did fit the pre- story. Instead, it has introduced a way of dealing PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO sentational frame of the magazine, and, finally, with the media dominated section of the public PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO Đurić had an open access to the editors, who could sphere as a medium for experiments in critical PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO approve such a thing as a formal collaboration context-specific art. This way is anything but safe. with the artist and the major art institution such as Concerning that the narrative produced was the PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO the October Salon in realizing this work. The ste- first person narrative, and, taking into account the PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO reotypical media image on Uroš as a tough and amount of copies of the magazine in case, with the PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO ruff urban guy who likes to show off and attract follow up of the whole story in other media, it was attention did make it quite natural to wrap up the literary on every corner that both participants in PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO story in the manner in which it got wrapped up, the project described still have to face someone PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO and, in fact, it’s publishing was a success in the who would relate to them in accordance with the PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO sense of attracting attention on a Serbian movie roles they have taken up for realizing it. And there celebrity dating a young Bosnian artist, former is no way to claim that it was and is only art. PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO fashion model, whose visibility in the public and PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO 64 PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO PORTFOLIO

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[headline] them. However, in the autumn of that same year, Marina Gržinić included them both in a group exhibition she was DOUBLE LIFE! preparing for Styrian Autumn, the festival of contemporary art at the prestigious Forum Stadtpark gallery in Graz. [straplines] That’s when Šejla and Uroš got to know each other bet- You little devil! ter and things started to heat up, despite her reservations. But she was far more open and friendly than during their Uroš Đurić, although married, has been in love with Sara- previous encounters, although everything stayed on the jevo artist Šejla Kamerić for the past four years “platonic” level. Almost two years passed, during which He first declared himself in 2003, when they were both time both of them made their mark on in the international exhibiting in Germany scene. Whenever they exhibited in art centres abroad, they exchanged greetings and made enquiries about each other [photo captions] among mutual friends. Uroš was disturbed to hear that Šejla was in a serious motorway accident in Croatia, but They met at the Styrian Autumn festival of contemporary encouraged by the news that his muse was now divorced. art: Šejla Kamerić As soon as he saw her photograph he fell in love: Uroš [strapline] Đurić Sonja Damjanović – Consolation

[byline] [body] by Beba Dragić, photo: “Svet” archives The fatal encounter “happened” in the summer of 2003 in [body] the German city of Kassel, where they both had works in- cluded in “In the Gorges of the Balkans”, a spectacular exhi- Uroš Đurić appears to be happily married to Milena, the bition by the celebrated German curator René Block. mother of his daughter. But “Svet” recently learned some Before the very eyes of the 78 artists included in the ex- shocking news: for the past four years this actor and paint- hibition, a real, intimate drama unfolded in which, for the er has been living in a “parallel love” with Sarajevo artist first time, he spoke openly about his feelings, while she Šejla Kamerić. It all began in the spring of 2001, when Uroš hesitated, torn between her own strong emotions and the spotted Šejla in a photo taken at the opening of her solo exposure to a curious audience. exhibition at the Rotor Gallery in Graz, which gallery owner Still depressed about her ruined marriage, Šejla resolved to Anton Lederer had shown him. take time to think, because this was the best way for her to Uroš spent a night at his friend Lederer’s place on his way discover whether Uroš was truly sincere. After one unhappy to Umag for the opening of his own exhibition at the ending, she had no energy for a new love story, and she Cetina Gallery. Lederer was showing him photographs of had never been keen on one-night stands. Rotor’s activities over the previous year and Šejla was in She was troubled by the thought of his family situation, one of the shots. As he told a close friend later, he was un- and by the fact that he spoke with great respect about his able to sleep that night because he couldn’t get the pretty wife, thus letting her know that his marriage was on a solid Bosnian out of his head. basis. When, for the umpteenth time, Šejla turned Uroš down, the [subheader] “little angel” sought consolation in a whirlwind romance Chance encounter with Novi Sad actress Sonja Damjanović who he had meet during the shooting of “We’re No Angels, 2”. [body] Towards the end of the film shoot, Šejla happened to be in Belgrade more often, travelling from there to the interna- Just one week later, as luck would have it, Uroš met the girl tional centres in which she was exhibiting her work. So, at who had begun to occupy his dreams. At the opening of the end of last year, they began to meet in secret and the the Venice Biennale he spotted her with a group of female romance between these two artists finally got under way. friends in the Giardina Cafe. Among them was a mutual Because of this, rumour has it, Uroš slowly began to cool acquaintance, Slovenian curator and theoretician Marina off on Sonja. Gržinić. He seized the opportunity and joined them at their The strong chemistry between Šejla and Uroš became no- table. As he talked to Marina, his eyes never left Šejla. ticeable at the premiere of the film “We’re No Angels, 2” “She is a flawless creature, like the starlets in Antonioni at the end of February this year. Although Sonja was also movies from the sixties,” the fascinated Uroš told our there, Šejla showed up at a dinner organised by the film’s source, who asked us not to reveal his name. Throughout distributors for their Belgrade guests. Immediately after the three days of the Venice Biennale, Uroš was a frequent the premiere, she and Uroš vanished and it wasn’t until the visiter to the Giardina Cafe, enquiring about Šejla among early morning hours that they turned up, to everyone’s sur- her friends. But they misinterpreted this attention and one prise, at a party thrown for the film crew by TV Pink owner of them put the moves on him. Đurič rebuffed her, mak- Željko Mitrović at the the Bičakčić brothersć The Club. Uroš ing it clear that he was only interested in Šejla. Although tried to “explain” to Sonja that he and Šejla were just col- her ego was bruised, the friend answered his questions leagues and close friends, but the cat was out of the bag. and so he learnt that Šejla had worked as a model during And what will his wife have to say about all this? We can the siege of Sarajevo, and that, like him, she had married only guess. Unless he manages to persuade her that the young and was still married. But they both went their own story about his double life and passionate love are “nothing ways and for some time there was no contact between but a journalistic concoction”. 67 [headline] them were exhibiting at the Venice Biennale. Đurić was immediately intrigued by the young artist, (NOT SO) STRONG UROŠ partly because of her interesting work and partly because of her looks, but it all ended in glances [straplines] “across a crowded room”. A year later they were introduced at an exhibition in Graz. Uroš’s mar- As Ćana would say: I’ve got proof! riage was solid at the time and Šejla was freshly divorced (and not ready to trust anyone). So things “Svet” snapper catches Uroš Đurić with his mistress stayed at a distance. Šejla Kamerić During various chance encounters in various cities [photo captions] in which they exhibited, the “moral restraints” be- gan to loosen. By the middle of last year, when They met at the Styrian Autumn festival of con- shooting of the film “We’re No Angels, 2” was near- temporary art: Šejla Kamerić ly complete, Šejla happened to make several trips to Belgrade. Although they were very cautious at As soon as he saw her photograph he fell in love: first, Uroš and Šejla soon began to worry less and Uroš Đurić less attention about whether they’d be seen by someone they knew or intercepted by tabloid We got a tip that she’s in Belgrade: Šejla leaving journalists. The relationship between the two art- Hotel Palas ists became the gossip of the day. So there’s no point denying it if the very next day you’re going He’s been in Belgrade for a while: Uroš also leaves to carelessly provide proof that it’s all true. the Palas The two artists were caught together last week in “Coffee, tea or me?” the heart of Belgrade! Sarajevo magazine “Gracija” “Coffee, tea AND you!” announced that Šejla was to travel to an exhibition in Tokyo next Monday (and, along the way, men- “Stones are burning, waves are foaming, arm-in- tioned her relationship with a certain Belgrade ac- arm we walked through Belgrade”: Lejla [sic] and tor). So it wasn’t hard to guess that this controver- Uroš sial artist would meet up with her beloved in Bel- grade. From there she was to fly to Cyprus and “No one will ever love you like me, Šeljaaaa!”: When then, from Larnaca, to the Japanese capital. Our two people are in love, who cares what the music photographer managed to catch the lovers as they is emerged, happy and smiling, from Hotel Palas. They were probably relying on the bad weather to [byline] hide them as they headed arm-in-arm to an ex- change office in Čika Ljubina Street. Then they by Beba Dragić went off to Café Plato, presumably for lunch, after photo: Budimir Ostojić which they took a stroll through Knez Mihailova Street. [body] It seems that Uroš is prepared to make an appear- It turns out that the “double life” which actor and ance in the centre of Belgrade holding another painter Uroš Đurić is leading with Sarajevo painter woman, cheerfully taking the chance of his wife and sculptor Šejla Kamerić isn’t just gossip and finding out about his adultery and thus, of course, beat-up. putting his marriage in danger. Perhaps this is just the whim of an eccentric artist. Or perhaps the re- We’ve already let our readers know that Uroš, who lationship with Šejla is so strong and serious that lives in what is apparently a happy marriage, first the consequences, whatever they may be, just came across Šejla four years ago when both of don’t bother him.

68

[column heading] fresh information arrived in our office, backed up with photos of this “fallen angel” from his recent Paparazzo Report trip to the Herceg Novi Festival. Uroš took advan- Dubrovnik, August 5, 2005 tage of being away from home to catch up with his attractive girlfriend. This time around Dubrovnik [headline] was their “promised land”.

BIGAMIST AND RED STAR FAN Being the eccentrics they are, they decided to meet precisely on August 5, the tenth anniversary [straplines] of Operation Storm , celebrated in Croatia as a na- tional holiday – Victory Day. Uroš, who hadn’t been love is in the air to Dubrovnik for nineteen years, wore a T-shirt es- pecially for the occasion, with Red Star on the Uroš Đurić flaunts a Red Star T-shirt with Cyrillic front. He’s lucky he wasn’t stoned like Zagreb Serb lettering in Dubrovnik while his girlfriend Šejla Stevan Nemanja, who recently provoked the resi- Kamerić gives him moral support. dents of the Croatian capital with his Serbophilia.

[photo captions] According to our source, Đurić escaped from the festival and toured the city while he was waiting Adriatic trysts: Uroš and Šejla for Šejla to arrive from Sarajevo. He had lunch at a bar in Gundulićev Square and then, at Hotel Ar- Hold on, you have salt in your eye: They love each gentina, he met our renowned artist, designer and other “transparently” Parisian playboy, Vuk Veličković (the former boy- friend of model Jelena Trninić) and his 16-year-old As Sarma says in “The Fall of Rock’n’Roll”, you’re son Arijan from his relationship with Alka Vuica. either a king or a cunt!: But the stripes on the deck Splashing around on the beach, and in the Jacuzzi, chair don’t really suit him! with two busty American girls from Harvard Law School, Uroš almost forgot that he was there to [byline] meet Šejla. by Beba Dragić When Đurić’s muse arrived she was pretty put out photo: Ian by what she found and started to sulk, but Uroš quickly “saved the day” with his tenderness and [body] protestations of love. They went off together to the Villa Ursula hotel complex where they chilled out Painter Uroš Đurić, who is also the “heavenly mes- with cocktails on the beach, smooched at the pool senger” in Srđan Dragojević’s movies, never stops and enjoyed the last rays of the sun for the day. behaving like a devil. We recently revealed that Then they went off to their room and didn’t he’s in a passionate romance with Sarajevo artist emerge until the evening, when they set off for Šejla Kamerić and was recently snapped leaving a Herceg Novi. They turned up for the showing hotel in Belgrade with her. But it seems that his “We’re No Angels, 2” at Herceg Novi’s Kana Tower, wife Milena believes him more than her own eyes, no longer attempting to hide from the nosy press so she shuts up and puts up with Đurić’s bigamy. photographers. Just as we thought things had gone off the boil,

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Uroš Đurić Uroš Đurić

Rođen u Beogradu 1964. Studirao je istoriju umetnosti na Filozof- Born in Belgrade in 1964. Studied art history at the Faculty of Phi- skom fakultetu i slikarstvo na Fakultetu likovnih umetnosti u Beo- losophy in Belgrade and painting at the Faculty of Fine Arts in Bel- gradu. Diplomirao je 1992. i magistrirao 1998. na Fakultetu likovnih grade. BA at 1992 & MA degree from the Faculty of Fine Arts in 1998. umetnosti. Sudelovao u beogradskom pank pokretu ranih osamde- Took part in Belgrade punk movement in the early Eighties (Urban setih (Urban Guerrilla). Osnivajući Autonomistički pokret zajedno sa Guerrilla). Became an active participant of the Belgrade art scene in Stevanom Markušem postao je aktivni učesnik na beogradskoj umet- 1989 by founding the Autonomist movement together with Stevan ničkoj sceni 1989. „Manifest autonomizma“ su objavili. 1994. godine. Markuš. In 1994 they published the “Autonomism Manifesto”. During Tokom devedesetih počeo je da se pojavljuje u igranim filmovima, the 90ies started to appear in feature films, graphic design & DJ-ing grafičkom dizajnu i DJ-ing u noćnom klubu Akademija, poznatom at Academy night club, known as The Hole. Contributor to several kao Rupa. Sarađivao na realizaciji nekoliko dokumentaraca i izdava- documentaries and underground comics publishing. Founder of nju underground stripova. Osnivač Remont-nezavisne umetničke Remont gallery & art magazine. From 1992 works with Belgrade asocijacije i Remont art magazina. Od 1992. radi na beogradskom radio B92. radiju B92.

Odabrane izložbe (2003-2008): Selected shows (2003-2008):

2008 2008 A Short View to the Populist Dreamland, Art Point gallery, Wien A Short View to the Populist Dreamland, Art Point gallery, Wien Experimenta Folklore, Frankfurter Kunstverein, Frankfurt Experimenta Folklore, Frankfurter Kunstverein, Frankfurt Zidovi na ulici, Simens Art Program / Muzej savremene umetnosti, Walls in the Street, Siemens Art Programme / Museum of Contem- Beograd porary Art, Belgrade Micro-narratives: tentation des petites réalités, Musée d’Art moder- Micro-narratives: tentation des petites réalités, Musée d’Art moder- ne de Saint-Etienne, Saint Etienne ne de Saint-Etienne, Saint Etienne

2007 2007 Pioneers, Heroes & Other Dedicated Life-Long Decadents (with Julia Pioneers, Heroes & Other Dedicated Life-Long Decadents (with Julia Kissina), 18m Galerie für Zahlenwerte, Berlin Kissina), 18m Galerie für Zahlenwerte, Berlin 7 koraka do moći, New Moment Galerija, Beograd 7 Steps to Power, New Moment Gallery, Belgrade Land of Promises, Espace Appolonia, Strasbourg Land of Promises, Espace Appolonia, Strasbourg

2006 2006 Povratak mrtvog slikara sa novim problemima / deo 2: 79 – 91, SKC Return of the Dead Painter with New Problems / part 2: 79 – 91, SKC galerija, Beograd Gallery, Belgrade Zvezda i njena senka, Muzej savremene umetnosti, Novi Sad The Star & its Shadow, Museum of Contemporary Art, Novi Sad Mobile Studios, Public Art Lab Berlin – Remont, Beograd Mobile Studios, Public Art Lab Berlin – Remont, Belgrade

2005 2005 Previously Unreleased, Ozone Galerija, Beograd Previously Unreleased, Ozone Gallery, Belgrade On normalnosti – Umetnost u Serbiji 1989-2001, Muzej savremene On Normality – Art in Sebia 1989-2001, Museum of Contemporary umetnosti, Beograd Art, Belgrade

2004 2004 Instructions, Kunsthalle, Wien Instructions, Kunsthalle, Wien Belgrad Art Inc., Secession, Wien Belgrad Art Inc., Secession, Wien Passage d’Europe, Museé d’Art Moderne, St. Etienne Passage d’Europe, Museé d’Art Moderne, St. Etienne

2003 2003 Život kao narativ (with Elke Krystufek), Salon muzeja savremene Life as a narrative (with Elke Krystufek), Salon of Museum of Con- umetnosti, Beograd temporary Art Gallery, Belgrade Go Johnny Go – Electric Guitar in Art and Mythus, Kunsthalle, Wien Go Johnny Go – Electric Guitar in Art and Mythus, Kunsthalle, Wien In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel In den Schluchten des Balkan, Kunsthalle Fridericianum, Kassel Blood & Honey, Sammlung Essl, Klosterneuburg Blood & Honey, Sammlung Essl, Klosterneuburg 74 Šejla Kamerić Šejla Kamerić

1976. rođena u Sarajevu Born in Sarajevo, Bosnia and Herzegovina, 1976. 1994-1997. radila sa dizajnerskom grupom TRIO Sarajevo. 1999. 1994–1997 Worked with the design group TRIO Sarajevo. 1999 Com- završila studije na Akademiji likovnih umetnosti u Sarajevu, odsek pleted studies at the Academy of Fine Arts in Sarajevo, Department grafički dizajn. 1997-2000. radila kao art direktor u krativnom timu of Graphic Design. 1997–2000 Worked as Art Director in the creative Fabrika u Sarajevu. 2007. DAAD stipendija, Berlin team FABRIKA Sarajevo. 2007 DAAD Artist in Residency Fellowship, Živi i radi u Berlinu Berlin, Germany. Lives in Sarajevo and Berlin.

Izabrane samostalne izložbe: Selected Solo Exhibitions: 2008. What Do I Know, DAAD Gallery, Berlin 2008. What Do I Know, DAAD Gallery, Berlin 2007. Bosnian Girl / Sejla Kameric, Literaturhaus, Salzburg 2007. Bosnian Girl / Sejla Kameric, Literaturhaus, Salzburg 2006. Brand New, Contemporary Art Institute EXIT, National Art 2006. Brand New, Contemporary Art Institute EXIT, National Art Gallery Pristina Gallery Pristine 2005. Sejla Kameric (Another Expo – Beyond the Nation-States), 2005. Sejla Kameric (Another Expo – Beyond the Nation-States), Gallery SOAP, Kitakyushu, Japan Gallery SOAP, Kitakyushu, Japan; 2004. FREI, intervencija u javnom prostoru; club transmediale 0.4 2004. FREI, public intervention; club transmediale 0.4 – (fly utopia!), – (fly utopia!), Nemacka Germany 2003. Bosnian Girl 2003. Bosnian Girl, public project 2002. Closing the Border (Welcome to the ancient land of freedom), 2002. Closing the Border (Welcome to the ancient land of freedom), Italija Italy 2001. Fortune Teller Sarajevo 2001. Fortune Teller Sarajevo

Izabrane grupne izložbe: Selected Group Exhibitions: 2008. Tales of Time and Space, I Trijenale Folkestone, Folkestone, 2008. Tales of Time and Space, 1st Folkestone Triennial, Folkestone, UK Velika Britanija 2008. You & Me, Sometimes..., Lehmann Maupin Gallery, New York, USA 2008. You & Me, Sometimes..., Lehmann Maupin Gallery, Njujork 2007. L‘enfer, C‘est les Autres / ‘Hell is... other people’, Stedelijk Mu- 2007. L‘enfer, C‘est les Autres / ‘Hell is... other people’, Stedelijk Mu- seum Bureau Amsterdam seum Bureau Amsterdam 2007. FREI, Galleri Susanne Ottesen, Copenhagen 2007. FREI, Galleri Susanne Ottesen, Kopenhagen 2006. Zones of Contact, 15th Biennale of Sydney 2006. Zones of Contact, 15. Bijenale u Sidneju 2006. NORMALIZATION, Rooseum Center for Contemporary Art, 2006. NORMALIZATION, Rooseum Center for Contemporary Art, Malme Malmö, Schweden 2006. Kontakt, Umetnička kolekcija Erste Bank-Group, Museum of 2006. Kontakt, The Art Collection of Erste Bank-Group at the Museum Modern Art, Beč of Modern Art, Vienna 2005. “CONFLICT: Perspectives, Positions, Realities in Central Europe- 2005. “CONFLICT: Perspectives, Positions, Realities in Central Europe- an Art”, Slought Foundation, Filadelfija an Art”, Slought Foundation, Philadelphia 2005. 45. Oktobarski salon, Umetnost koja radi, Beograd 2005. 45. Oktobarski salon, Umetnost koja radi, Beograd 2004. Passage d’Europe, Musée d’Art Moderne, Sent Etjen 2004. Passage d’Europe, Musée d’Art Moderne, Saint-Etienne 2004. I am here and you are there, GALERIE FÜR ZEITGENÖSSISCHE 2004. I am here and you are there, GALERIE FÜR ZEITGENÖSSISCHE KUNST, Leajpcig KUNST, Leipzig 2003. The Gorges of the Balkans, Kunsthalle Fridericianum, Kasel 2003. The Gorges of the Balkans, Kunsthalle Fridericianum, Kassel 2002. Bound/less Borders, putujuća izložba bilborda 2002. Bound/less Borders, traveling billboard exhibition 2001. The Real, The Desperate, The Absolute, Forum Stadtpark, Ste- 2001. The Real, The Desperate, The Absolute, Forum Stadtpark, Ste- irischer Herbst Festival, Grac irischer Herbst Festival; Graz, 2000. MANIFESTA 3, European Bienni- 2000. MANIFESTA 3, Evropsko bijenale savremene umetnosti, Ljubljana al of Contemporary Art; Ljubljana 75 jamesdin – tuff guy

Mileta Prodanović

Celu situaciju dodatno opterećuje činjenica da je Možda ključ za čitanje Jestrovićevih raznorodnih svet oko nas postao previše komplikovan. U boljim postavki i radova treba, za početak, tražiti u njego- i spokojnijim vremenima posao slikara bio je da vom pseudonimu. Ime je jedno od lica čoveka, ali iznese štafelaj u plener i na platno prenese doživ- je nezgoda u tome što nam ime obično daju drugi, ljaj pejsaža, eventualno ga obogaćujući nekim roditelji, kumovi, svojta... Sa pseudonimom to nije metafizičkim ili subjektivnim sadržajima. slučaj. Biramo ga sami ili, u ređem slučaju, parafi- ramo nadimak koji su nam prišili ljudi iz naše oko- U današnjem univerzumu skoro da više nema pej- line. Šta se može kriti iza šifre Jamesdin? saža, ali su zato tu japanski crtani filmovi, borbena avijacija, kompjuterski virusi, žvakaće gume, elek- Nema sumnje da je to umetničko ime u vezi sa tronske igračke, preduzeća za sahranjivanje u sve- američkim glumcem Džejmsom Bajronom Dinom miru, sredstva za poboljšanje pojedinih aspekata (1931-1955) koji se, pored uloga na brodvejskim ljudskog tela, virtuelni prostori video-igara, ne- scenama, koje, istini za volju, niko ne pamti, pro- principijelne koalicije političkih partija, modne slavio ulogama u filmovima Istočno od raja, Bun- revije, povoljne ponude za pakete usluga mobilne tovnik bez razloga i Div. Njegova smrt u saobraćaj- telefonije, surogati kućnih ljubimaca snabdeveni noj nesreći u crno je zavila bezbrojne obožavatelj- sofisticiranim mikročipovima, kompeticija na trži- ke širom sveta i pretvorila ga u jednog od onih štu kalodonata, higijenskih uložaka i kondoma, idola koji nisu stigli da propadnu, puste stomake i kvizovi, karaoke, televizijski propovednici, sportske izobliče se od alkohola i kokaina. Džejms Din je, kladionice, džambo-bilbordi, zatvoreni sistemi pra- dakle, do dana današnjeg ostao merna jedinica ćenja, besplatne akcije za penzionere, dečja por- lepote i muške privlačnosti. Ono što je posebno nografija na internetu, globalna teroristička pret- profilisalo „imidž“ te „globalne ikone“ jeste priroda nja, lokalna takmičenja u ispijanju šljivovice, festi- uloga u filmovima u kojima je igrao – to je, po pra- vali kulinarskih specijaliteta od životinjskih mošnji, vilu, uvek bio neprilagođeni buntovnik. vikendice na groblju, klonirane ovce, suton epohe sveopšte borbe za ljudska prava i početak novog Postoji, isto tako, rasprostranjeno verovanje da je, razdoblja borbe za neljudska prava, ukratko, veo- na talasu posmrtne slave ovog lepotana, u središ- ma raznovrsna i bogata ponuda. njim delovima tadašnje Jugoslavije, zajedničke domovine različitih naroda i narodnosti, od imena Umetnik je, dakle, bačen u svet nepreglednih di- i prezimena američkog glumca, iskovano novo ime menzija u kojem treba doneti odluku i odrediti se zvukom slično tradicionalnim imenima tog kraja naspram tog haosa, treba, napornim radom, izgra- (Edin, Husamedin, Izudin, Dželaludin...) – James- diti takozvanu poetiku, opredeliti se za takozvani din. Kako su iz tog regiona potekli Mujo i Haso, medij, osmisliti takozvani diskurs kojim će opseni- nezaobilazni „drugi“ koji u nekorektnim šalama ti kritičare i pregaoce iz medijske sfere. Aleksandar obavezno ispadaju glupi, odabrani pseudonim Jestrović, u najboljoj tradiciji zemlje u kojoj je odra- ima prizvuk vickastog, ironičnog. stao, odlučio je da ostane nesvrstan. Stoga se kontinuitet u njegovom delovanju ne Tako je, u samom temelju, Jestrović izgradio pozi- može izvesti na nivou stila, rukopisa, pa ni medija. ciju dvosmislenosti: mačo-imidž potkopan je iro- 76 Sonic Youth 1990-2007

Southern Comfort ničnim i često autoironičnim pristupom. Na tom tragu je rad „Vežbe za grbu“. Problem visokih, na- glo izraslih muškaraca je deformacija kičmenog stuba. Središnji deo rada reprodukuje sheme vežbi iz korektivne gimnastike a bočne fotografije su lična ispovest.

Na putu nesistematičnosti, konzistentne nekonzi- stentnosti (čega se najviše užasavaju oni kunsthi- storičari koji su skloni razvrstavanju u pregratke-će- lije) Jamesdin kolonizuje različite slikarske i ne samo slikarske pristupe. Dominantno ekspresionistički rukopis (rane slike pasa) meša se sa stilizacijom gra- fiti-arta, sklapa u instalacije (Južnjačka uteha), rav- nopravni medij umetnika su fotografije, dorađeni objekti široke potrošnje, računarski crteži.

Jestrovićevi radovi su uvek barem dvosmisleni. Takav je i video-poliptih, rad u nastajanju, gde se kao podloga koristi efemerna činjenica da umetnik stanuje u delu grada u kojem se ulice zovu po ču- venim jugoslovenskim slikarima sredine dvadese- tog veka. Ovi neprenteciozni, „prljavi“ ili – ako više volite – „ekspresionistički“ video zapisi nisu ni oda- Fuck Forever vanje počasti pre(thodni)cima, niti bezrezervni obračun sa likovima i opusima Peđe Milosavljevića, Nedeljka Gvozdenovića, Marka Čelebonovića i đu ta dva pristupa, poziciju koja uvek može biti i Ismeta Mujezinovića. Oni zauzimaju poziciju izme- jedno i drugo i samim tim otvorena i podsticajna.

Bitch Na sličan, neprenteciozan ali i dvosmislen način Jamesdin tretira fenomen mode (kroz performans- modnu reviju koja istovremeno ima ozbiljne ele- mente, u liku umetnikovog brata, profesionalnog manekena, i zaista vrhunskih odevnih predmeta i, na drugoj strani, pomerenosti konteksta, disloka- ciji celog događaja u galeriju i u uslove koji nisu ništa drugo nego parodija modnih rituala i mod- nog establišmenta) ili sporta (gde se večita kon- frontacija i tenzija između teoretičara umetnosti i neposrednih izvođača umetničkih radova prenosi na košarkaški teren). Kao da nam pozicija koju je Aleksandar Jestrović izgradio svojim radovima i nastupima govori da sve to što nas okružuje može da bude, ali – kako bi to svojevremeno rekao Oliver Mlakar – ne mora da znači. A to je u isti mah i stav beogradskog momka odraslog i profesionalno oformljenog u vremenima kada je srpsko društvo obeležavala apsolutna izmeštenost uma. Jedan od uspešnijih načina da se u takvim uslovima sačuva- ju razum i integritet bilo je posmatranje iz prikrajka uz ciničan osmeh. I to je upravo platforma James- dinovih radova koji nastavljaju da se fokusiraju na društvena iskliznuća i mesto pojedinca u tim okol- nostima. 78 Narod veruje da se na kraju duge, na mestu gde je nima, umetnik pojavljuje suočen sa kritičarima pa taj nebeski luk zakucan u zemlju, nalazi ćup sa zla- to postaje evokacija tradicionalnog odnosa stva- tom. Isto tako, postoji verovanje da osoba koja ralac-kustos.

300 kuraca prođe ispod duge promeni pol. Možda su zato Recimo da ćemo se, ukoliko prođemo ispod Ja- udruženja privrženika alternativne polnosti za svo- mesdinovog luka pigmenta koji glumi polusvare- je obeležje odabrala skalu duginih boja. Nije, me- nu hranu, najednom naći u sređenoj zemlji sve đutim, zabeležen slučaj da je ikome pošlo za ru- samih zadovoljnih, bogatih, neostrašćenih, pamet- kom da se dočepa kraja duge, a još manje da ispod nih i lepih ljudi. Ali kako je i ispod ove duge nemo- nje prođe. Oni koji čeznu za tradicijski očekivanim guće proći (osim ako baš niste rešili da idete gla- efektom prolaska ispod duge danas to mnogo us- vom kroz zid) ostaje nam da se i dalje snalazimo sa pešnije postižu za hirurškim stolom. ovim u čemu smo. U tom snalaženju Jamesdinovi Sastavni deo izložbe NH5 SZ1 održane u galeriji radovi mogu biti ako ne putokaz, onda barem "Remont" bila je slika/zidna instalacija na kojoj vi- osveženje. dimo umetnika, u profilu. Naziv rada je „Egzorcist“. Munjeviti mlaz istisnutog želudačnog sadržaja for- mira dugu od povraćke. U novijim verzijama ovaj rad doživeo je i proširenje pa se, na posebnim plat- 79 jamesdin – tuff guy

Mileta Prodanović

This situation is additionally burdened by the fact The continuity of his work is not defined by style, that the world has become extremely complicat- trademark, not even artistic media. The clue to ed. Back in some better and more relaxed days the Jestrović’s diverse setups and works may be con- painter’s job was to bring his easel to a vantage tained in his pseudonym in the first place. The point and translate his impression into a painting, name is one of one’s faces, albeit reflecting others’ ocasionally enriching it with metaphysical or sub- preferences – parents’, godparents’, whole fam- jective content. ily’s... On the other hand, we choose the pseud- onym ourselves or, though quite rarely, adopt a Landscapes are almost extinct in modern universe, nickname given by our friends. What can a code but we have Japanese animation, military aviation, name Jamesdin reveal? computer viruses, chewing gum, electronic toys, deep space funeral companies, tools for improv- The alias straightforwardly evokes memories of ing certain aspects of human body, virtual space James Byron Dean (1931-1955), an American actor of video games, ad hoc political coalitions, fashion who, after a number of unimportant appearances, shows, bargain priced mobile communication ser- made huge success with major roles in Holywood vices, surrogate pets equipped with sophisticated films East of Eden, Rebel Without a Cause and Gi- microchips, competition within the toothpaste, ant. His death in a car accident dressed millions hygienic pad and condom market, quiz shows, of (mainly female) fans in mourning, making him karaoke, TV preachers, bookmaking, billboards, an idol who cannot grow old, fat and misshapen CCTV, free shares in state companies for state by alcohol and cocaine. Therefore, James Dean pension holders, Internet child porn, global ter- remains a standard of male beauty and attrac- rorist threat, local drinking competitions, culinary tion. Additionally, the public image of this global festivals dedicated to animal testicles, cottages in icon was defined by the very nature of characters cemeteries, cloned sheep, decline of the global he played in his three smash hits – all were rebel human rights era, dawn of the age of non‑human misfits. rights... To cut a long story short, it is a very rich and diverse offer. There is also a popular belief that, on the wave of posthumous glory of this film star, the name of The artist is thrown into a world of innumerable di- James Dean was adapted and adopted in the cen- mensions, asked to comment upon the surround- tral parts of the then Yugoslavia, home of many na- ing chaos, build some so‑called poetics, choose tions and nationalities, in accordance with already between some so‑called artistic media, set up existing names having the suffix din – Edin, Hus- some so‑called discourse to charm the critics and samedin, Izoudin, Jellaludin... James Dean became creators of public opinion. Aleksandar Jetrović fol- Jamesdin (pronounced yamesdin). Since the same lowed the best tradition of the country he grew up region was also the home of Mooyo and Haasso in and decided to stay non‑aligned. (fictional characters in popular politically incorrect 80 jokes, who play the roles of local wallies) the cho- was professionally formatted in times when Ser- sen pseudonym sounds rather joky and ironic. bian society suffered a complete lack of reason. A possible way of preserving one’s sanity and integ- In this way Jestrović has built his ambiguous posi- rity in such times was peeking at the situation with tion from the very foundation: a macho image un- a cynical smile. This is the exact platform of James- dermined by ironic and often self‑ironic approach. din’s work, which focuses on social slips and the This is the case with his work entitled Exercises for position of an individual in such circumstances. the Hump. Many tall and suddenly grown men have a problem with deformities of the spine. The Some believe that there is a pot of gold at the central piece of the work depicts various corrective end of the rainbow, others say that the one who exercises, while photographs on the sides present walks under the rainbow swaps his/her gender. a personal history. Maybe this is why colours of the rainbow became the trademark of various alternative gender cat- Along his unsystematic path of consistent incon- egories. Up to date nobody has managed to ei- sistency (to the horror of those art historians who ther reach the end of the rainbow nor to cross it. prefer to file the art in drawers), Jamesdin colonises However, those who long for the results of walking both the painter’s and non‑painter’s approaches. A under the rainbow can find their satisfaction on predominantly expressionist style (his early paint- the surgical table. ings of dogs) is mixed with grafitti art stylisation and/or put into installations (Southern Comfort). The artist equally uses photography, customised consumer products and computer graphics in the course of his work.

Jestrović’s works are always at least ambiguous. An example of this is a video polyptych, currently in progress, based on the fact that the artist lives in a part of town where the streets are named after famous Yugoslav painters from the middle of 20th century. These unpretentious, “dirty”, or if you pre- fer – “expressionist” video clips are neither paying tribute to predecessors nor criticising the work of Peđa Milosavljević, Nedeljko Gvozdenović, Marko Beograd Čelebonović or Ismet Mujezinović. The artist’s posi- tion is in‑between these two approaches, it makes Jamesdin’s painting/wall installation entitled Ex- both stands possible simultaneously, thus it is both orcist was presented in the course of NH5 SZ1 ex- open‑minded and stimulating. hibition in REMONT Gallery. The work depicts the artist’s profile in the moment of throwing up, his Jamesdin treats the phenomena of fashion and vomit forming the rainbow. In the meantime, the sport in a similarly unpretentious and ambiguous work has been upgraded with additional canvases, way. One of his performances included all ele- on which the artist is confronted with the critics, ments of a fashion show – first‑class clothing and evoking the traditional artist-curator relationship. models (even the artist’s brother – a professional male model). However, placing a fashion show into Let’s assume that, if we managed to walk under a gallery space surely parodied the fashion‑related Jamesdin’s pigmented arch depicting half‑digest- rituals and establishment. His other performance ed food, we would find ourselves in an idyllic land ridiculed the ongoing confrontation and tension full of satisfied, rich, calm, smart and beautiful peo- between artists and art theorists by putting them ple. However, since this rainbow is also impossible on a basketball court. It looks like Jestrović’s stand- to be crossed (unless we are willing to bang our point, built by his works and performances, tells heads against the wall), all we can do is try and us that things around us may be what they seem, deal with the situation we are in. Even if Jamesdin’s although not necessarily. At the same time, it is a works are not the arrow signs along our way, they standpoint of a Belgrade bloke, who grew up and surely are a good refreshment.

81 Uskomešanost, galama stilova i boja, kakofonija tonova, silna vulgarnost, prozaični gestovi i dr- žanje, tobožnja otmenost, stereotipi svih vrsta; i sve to vrlo uočljivo, ne samo u međusobnom odnosu slika, već i na svakoj pojedunačnoj slici: ukratko, potpuno odsustvo jedinstva, što zama- ra oči i stvara užasnu glavobolju... (Šarl Bodler o Eduaru Maneu)

Od ćaleta sam čuo da dečko koji je bio pripad- nik neke sekte i koji je pobio svoju familiju (iz- beglice) nije dobro i da ne može da se pomiri sa time šta je uradio, odnosno da leži na VMA i da je gotov. To me je rastužilo i radove posvećujem njemu.

Jamesdin

Turbulence, a hubbub of styles and colors, a ca- cophony of tones, overwhelming vulgarity, pro- saic gestures and attitudes, sham nobility, every known variety of stereotype, and all this plain to see, not only in pictures placed side by side, but in one and the same picture; in short, a complete absence of unity, which only produces eyestrain and a frightful headache... (Charles Baudelaire on Edouard Manet)

My old man told me that a guy who used to be a member of a sect and slaughtered his whole family (refugees) wasn’t doing very well and that he couldn’t resign to what he had done, i.e. he cracked up and was hospitalised at the Military Medical Academy in Beograd. It made me really sad, so I dedicate these works to him.

Jamesdin

Tunel Tunel

U mom skromnom znanju iz biologije naučio sam My modest knowledge of biology includes famil- da najsposobniji spermatozoidi probijaju i oplo- iarity with the fact that the most capable sperma- đuju jajnu ćeliju. Kasnije sam saznao da mu u pro- tozoon penetrates and fertilizes the egg. I have bijanju pomažu nekoliko najačih (najsposobnijih) also learned that his efforts are usually supported drugova ili suparnika. Po svoj prilici oni su u spoju by some of the toughest (most capable) of his sa žutim telom nosioci vrlina koje su nas sazdale. friends or rivals. It appears that, in conjunction Ostali spermatozoidi su otpadnici, a poznata je lju- with the mentioned yellow body, they are the car- bav ženskog pola u adolescenciji prema nosiocima riers of virtues we are made of. The other sperma- takvih osobina i u ovom radu, kako to ne biva naj- tozoa are renegades, and the affection of female češće u životu, oni su u centru pažnje. adolescents towards the carriers of such features Loši speramtozoidi. is proverbial. This work, unlike real life, puts them Oni koji pod uticajem alkohola, nikotina, droge, into focus. loše hrane i nedisciplinovanog života krivudaju, Bad spermatozoa.. Those affected by alcohol, nico- zanose, vuku se ko psi i ako stignu na pravo mesto tine, drugs, junk food and indiscipline, who wander naprave sranje. and meander with dragging feet and eventually, if they ever reach the right place, fuck up. Some girl they want a handsome Dan Or some good-lokin Joe’ on their arm, Some girls they want a handsome Dan, Some girls like a sweeet-talkin ‘ Romeo Or some good-lookin’ Joe on their arm, Well round here baby Some girls like a sweet-talkin’ Romeo.. I learned you got what you can get Well ‘round here baby, So if you re rough enough for love I learned you get what you can get, Honey I’m tougher than the rest So if you’re rough enough for love, Honey I’m tougher than the rest. The road is dark And it’s a thin thin line The road is dark, But i want to knew I ll walk it for you any time And it’s a thin thin line, Maybe your other boyfriends But I want you to know I’ll walk it for you any time. Couldn’t pass the test Maybe your other boyfriends, Well if you re rough and ready for love Couldn’t pass the test, Honey I’m tougher than the rest Well if you’re rough and ready for love, Honey I’m tougher than the rest (Bruce Springsteen: Tougher than the rest sa albu- ma Tunnel of Love) (Bruce Springsteen: Tougher Than the Rest from Tunnel of Love) Drugi segment rada je moja zaintersovanost za tetovaže, za koje sam u jednom momentu This work also shows my interest in tattoos, which pomislio da će postati izvor mojih prihoda, ali ta- I once hoped to become my source of income, but too majstor koji bio voljan da me primi za šegrta, the tattoo artist who was willing to take me as an napustio je zemlju, i ja se sad snalazim kako znam apprentice has left the country, so I cope with the i umem. situation the best I can. No need to say only a few Ne trebam napominjati da nema mnogo zaintere- are interested in my style. sovanih za moj pravac. I’m also a great admirer of the sperm odyssey Tkođe, veliki sam poštovalac scena odiseje sper- scene in the Woody Allen film Everything You Al- matozoida u filmu V. Alena – Sve što ste hteli da ways Wanted to Know About Sex (But Were Afraid saznate o seksu a niste se usudili da pitate. to Ask).. I na kraju dodao bih da u radu želim da dostignem In the end, I’d like to add that my work tries to britkost narodnog uma mojih sunarodnika koju achieve the sharp sense of humour of my coun- sam prepoznao u vicu: trymen I recognised in a joke: Vođa spermatozoida koji su krenuli u akciju, naglo Leader of a sperm squad suddenly stops and se zaustavlja i viče: shouts: Stoj, izdaja,dupe! ! ! - Halt! Treachery! Ass! 84

Darkness on Darkness on the edge of the town the Edge of the Town

74, 75, 82 i odnedavno 65 su basevi kojima može- 74, 75, 82 and (since recently) 65 are the bus lines te posetiti naselje Bežanijska kosa i blok ulica koje that will take you to Bežanijska Kosa, a residential nose imena naših slikara. Smatram da se to naselje area where a couple of streets are named after ističe kreativnošću zato što tu živim ja. U ulici Mar- our distinguished painters. In my opinion, this ka Čelebonovića u ulazu koji je znamenit po tome, part of town is distinctively creative because I live što je tu raznesen Mita direktor FK Bežanija i nje- here. My flat is in Marka Čelebonovića Street, in gov telohranitelj, bombom aktiviranom daljinskim the building in whose entrance Mita, manager of upravljačem, što je naša dnevna štampa pohvalila Bežanija Football Club and his bodyguards were kao kreativni doprinos Srpskoj istoriji zločina. blasted by a remote‑controlled bomb. The daily press praised this act as a creative contribution to Sledeća ulica je ulica Peđe Milosavljevića kroz koju the Serbian Crime History. imam zent da prođem jer se tu stalno šeta jedan staford koji ne odaje utisak dobroćudnosti. Next is Peđe Milosavljevića Street, which gives me the creeps because of a non‑friendly‑looking Treća u nizu je uspela da sačuva svoj naziv tako da stafford terrier, who walks there on regular basis. je i dalje poznata pod imenom Ismeta Mujezinovi- ća, mada su u jednom periodu razmatrane i druge The third street is still named after Ismet naše umetničke veličine. Oko pijace koja se nalazi Mujezinović despite the fact that, at a point in re- u ovoj ulici počeli su da niču nadgrobni spomenici. cent past, some other artistic celebrities were con- Da li je to groblje počelo da se širi van ograda ili je sidered. There is a marketplace around which lately to nov urbanistički trend (zakopaj gde se može), a number of tombstones were raised. It is unclear ostaje otvoreno. whether the local cemetery started spreading outside its fence or it is a new urban trend (bury Kvartet ulica sa imenima slikara završava se ulicom wherever you can). Nedeljka Gvozdenovića, gde na fasadama zgrada, urbana mlada populacija razmenjuje poruke sa The quartet of streets named after painters ends pripadnicima službe zaštite reda i zakona, čija se with Nedeljka Gvozdenovića Street. Young popu- stanica nalazi u blizini smeštena u hotel Komgrap. lation uses its façades for leaving the messages to Grafite tipa: smrt policiji i bolje ćerka kurva nego the members of the Organisation that protects sin pandur, pripadnici ove službe redovno prekre- law and order, whose station is placed nearby, in čuju i tako se brinu za izgled ove ulice. the Komgrap Hotel. Members of the Organisation regularly whitewash the graffiti reading Death to Trougao koji sklapaju tačke: Bežanijska crkva ili su- the Police or I’d rather let my daughter be a whore permarket Idea (biraj), zatim preblizu postavljeni then my son be a copper, thus taking care of the dalekovodi i nedovoljno od urbanog naselja od- tidiness of the street. maknuto groblje omeđuje ove ulice i predstavlja kretivni rezervat iz koga crpim energiju i ako moji A triangle formed by the local church (or super- radovi poseduju neki kvalitet to dugujem ovom market Idea, depending on your choice), long- asfaltu, betonu i ponekom fazanu koji ga preleće. distance power lines and the local cemetery sur- rounds these streets, closing a creative reserve, so Kada Blokovi plaču, Bežanija ne čuje ništa. if my works are of any quality they owe it to this asphalt, concrete and an occasional pheasant that sometimes flies over.

When the blocks of Novi Beograd cry, Bežanija doesn’t hear a thing.

86 Darkness on the Edge of Town TRASH TRASH performans performance

Do četrdesete imate lice kakvo vam je Bog podario, Until the age of forty you wear a face given by God, a posle toga kakvo zaslužujete. after that you wear the one you deserve. Verica Rakočević Verica Rakočević

U formi modne revije, Nikola Jestrović i Jamesdin In the form of a fashion show, Nikola Jestrović and naizmenično pronose modele iz vlastite kolekcije. Jamesdin alternately wear fashion garments from Pre toga devojke čitaju odlomke iz knjige Larsa their own collection. Before that, some girls are Svendsena Filozofija mode. Na kraju piste su pore- reading excerpts from Lars Svendsen’s book Fash- đane flaše, koje na kraju performansa razbijaju ion: A Philosophy. At the end of the runway glass gađajući ih kamenjem. bottles are set in a row. After the performance is over the participants stone them. Jednom prilikom, na nekom otvaranju, moj ćale je predložio jednom renomiranom beogradskom On one occasion, at an opening of some exhibi- umetniku (obojica potiču iz okoline Gornjeg Mila- tion, my old man had a chat with a renowned Bel- novca) da u Gornjem Milanovcu pokušamo da grade artist. As both of them were born in the area napravimo neki kulturni prodor; odnosno, da spo- of Gornji Milanovac, my father suggested some jimo talente, pošto sam ja slikar, burazer maneken, kind of cultural breakthrough in their hometown; a taj umetnik uticajan... Umetnik mu je oprezno i.e. merging the talents, since I am a painter, my objasnio da to nije dobra ideja, odnosno da umet- brother is a professional model and the mentioned nost i moda baš ne idu zajedno. Animozitet izme- renowned artist is a very influential one... The artist đu umetnika i manekena se pokazao u pravom carefully explained to my dad that it wouldn’t be a svetlu kad je umetnik Vukašin Nedeljković rekao u good idea, because art and fashion shouldn’t be ,,Peščaniku” da će da seče glavu Neši Kliku*, koju će mixed. A statement of the artist Vukašin zatim da preparira i izlaže kod Sačija. E sad, zato što Nedeljković, made in Peščanik radio show on Ra- ja imam potrebu da radim stvari koje nisu dobre dio B92, clearly describes the animosity between – eto prilike u Smederevu (koji nije baš kulturni artists and fashion people – he said that he would centar kao Gornji Milanovac, ali nema veze)! “chop off the head of Neša Klik*, have it stuffed and exhibit it at Saachi & Saachi Gallery”. However, Drugi deo performansa potiče iz naše omiljene igre since I have an urge to do bad things – here comes – razbijanja flaša na ilegalnim deponijama oko Be- an opportunity in Smederevo (it’s not as important žanije. Gađali bismo pacove iz pištolja kao što smo cultural environment as Gornji Milanovac, but I gledali na filmu, ali nas mrzi da čistimo oružje. don’t care)!

The second part of the performance was derived from our favourite game – stoning the bottles at garbage heaps around Bežanija. We would have been shooting rats, like we saw in the movies, but we’re too lazy to clean the weapons.

* Neša Klik is the founder and manager of Bel- * Neša Klik je osnivač i organizator Fešn vika, grade Fashion Week. There are actually two odnosno Beogradske nedelje mode. Beograd “fashion weeks” in Beograd – the other is called ima dve nedelje mode, druga se zove Fešn se- Belgrade Fashion Selection, founded by Vesa lekšn i njen je osnivač Vesa Komtrejd, koji je Komtrejd. Vesa used to work with Neša, but they nekad radio zajedno sa Nešom Klikom, ali su se split because Vesa is known to be cruising, look- rastali, jer Vesu bije glas da je švaler i da poseb- ing especially for young female models. Detailed nu naklonost gaji prema mladim manekenkama. view into the fashion life of the capital of Serbia Detalje modnog života srpske prestonice može- is available at the TV B92 show entitled Glamu- te pratiti u autorskoj emisiji Lune Lu – Glamura- rama (wagging tongues call it Trashorama), pre- ma, koju zli jezici zovu Šljamurama. sented by Luna Lu. 88 Trash Vežbe za grbu Duck of the dead

Atavism Fashion Collection ANNUALANNUALJANUARY FEBRUARY MARCH APRIL MAY JUN JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER ANNUAL# GODIŠNJAKJANUAR FEBRUAR MART APRIL MAJ JUNI JULI AVGUST SEPTEMBAR OKTOBAR NOVEMBAR DECEMBAR GODIŠNJAKGODIŠNJAK ANNUALANNUALJANUARY FEBRUARY MARCH APRIL MAY JUN JULY AUGUST SEPTEMBER OCTOBER NOVEMBER DECEMBER ANNUAL07 GODIŠNJAKJANUAR FEBRUAR MART APRIL MAJ JUNI JULI AVGUST SEPTEMBAR OKTOBAR NOVEMBAR DECEMBAR GODIŠNJAKGODIŠNJAK Nation of Satan 13.01. IZVANREDNI BOB & Johnny Rackovitzch

Slikar treba da kreira samo jedno remek delo, kaže „sveopštih demona”, i odakle će izroniti ponovo ro- neprekidno – sebe samog. đen. Na taj način on se namerno i svesno stavlja u pozi- Yves Klein ciju da njegova telesnost bude percipirana kao vitalni i neotuđivi deo njegovog umetničkog čina. Njegovo telo je tu da nadomesti odsutnost objektnosti konvencional- Ako ovu Kleinovu izjavu prevedemo u termine per­for­ nog umetničkog predmeta kao proizvoda namenjenog ming arta, biće nam vrlo jednostavno da pojmimo kako prevashodno estetskom uživanju. to performing artist neprestano kreira sebe samog kao sopstveno životno delo. U tom ključu svaki pojedinačni Sledeći cyber punk estetiku, Rackovic neretko kalemi umetnički čin Nenada Rackovića može se čitati kao inte- mašine na sopstvene ekstremitete kao organski produ- gralni deo njegovog opusa koji je opet obuhvaćen nje- žetak tela, čime se meso i tehnologija stapaju u jednoj govom umetničkom pojavom. Svojim imidžom – cvetom fascinantnoj androidnoj strukturi. Ti mehanički produže- u reveru i leptir mašnom kao obaveznim modnim doda- ci su ključni u simuliranju potpuno deerotizovanog pol- cima, ekscesnim ponašanjem u situacijama u kojima je nog čina, u kome nema seksualnog uzbuđenja i koji pristojnost i lepo vladanje imperativ – Racković parodira funkcioniše kao refleksno pražnjenje, kao ventil – kao boemštinu u sredini koja umetnost i umetnika još uvek eksplozija u protivteži imploziji stvarnosti (ako je ekvili- prevalentno romantičarski vezuje za sliku boema. brijum uopšte moguć). Performing žanrovi su počev od šezdesetih godina XX Važno je naglasiti da je cilj ovog umetnika da komunicira veka izmenili familijarno lice umetnosti gotovo do nepre- pre nego da šokira. Javno samopovređivanje i samoponi- poznatljivosti. Nove prakse zahtevale su uvođenje novih žavanje, brutalno, agresivno i beskompromisno ponaša- pravila i određena teorijska razmatranja koja bi dozvolila nje funkcioniše samo u okviru rama kulturne istorije, gde da se fenomeni koji vode u pravcu dematerijalizacije je vezano za jasan kontekst. Da bi prevazišli fizičku nela- umetničkog predmeta identifikuju kao umetnost. Došlo godnost koju Rackovićevi performansi neosporno izazi- je do pomeranja fokusa sa gotovog predmeta ovenča- vaju, da bi uopšte pokušali da razumemo, potrebno je nog aurom, na sam umetnički čin kome se pripisuje ritu- prići otvoreno i bez predrasuda, čak sa izvesnom dozom alna, gotovo magijska vrednost. Kombinujući brutalne simpatije. Svetu koji još uvek, u tradiciji prosvetiteljstva, prizore i agresivne zvučne manipulacije, Racković dela veliča racio i apolonijsko svetlo potrebna je doza dionizij- kao šaman koji u toku «obreda» napušta svoje biće, od- skog mraka, jer bez mraka nema ni prosvetljenja. nosno odbacuje individualni identitet kako bi otišao iza ega, u limbo nesvesnog, gde će se osloboditi, kako sam Irena Šimić

Izvanredni Bob

Nenad Džoni Racković Rođen u Beogradu 1978. god. Video aktivista i vj. Polje u kojem najčešće deluje je glitch art. Koristeći dropove, bugove, kracere, feedbackove, Rođen 1967. godine u Beogradu, Srbija. Živi i radi u Beogradu. noiseve, piksele, Bob kreira vizuelne pasaže koji su uvek u relaciji sa muzikom/zvukom. Samostalne izložbe: 2005. Totem Golootočkog plemena /performans/, SKC, Beograd Samostalne izložbe: 2003. Retrospektiva 1983–2003, galerija Doma omladine, Beograd 2007 – Flicker, Dom omladine, Beograd 2000. Made in Hell, galerija Doma omladine, Beograd 2004. BELEF 2003. Globalni Seljak, SKC, Beograd Grupne izložbe: 2007. MIKRONARATIVI, 48. oktobarski salon, Beograd Grupne izložbe: 2005. O normalnosti – Umetnost u Srbiji 1989–2001, 2008. 3 slučaja – Kritičari su izabrali, KCB, Beograd Muzej savremene umetnosti, Beograd 2006. Upgrade Belgrade, Trg Republike, Beograd 2004. Mikropol, SKC, Beograd 2003. NIGHT OF 1000 DRAWINGS – Artist Space, New York

Kontakt: +381 11 339 1060 Kontakt: [email protected] 94

Nation of Satan 13.01. IZVANREDNI Bob & Johnny Rackovitzch

The painter only has to create where he will emerge reborn. In that way he puts himself one masterpiece, himself, constantly. intentionally and consciously in a position where his Yves Klein body is perceived as a vital and inseparable part of his artistic act. His body tends to replace the absence of ma- If we interpret Klein’s statement in terms of performing teriality of conventional work of art as a product meant art it should be easy to understand how the performing prevalently for aesthetic pleasure. artist constantly creates his or herself as his or hers life work. In this kea any individual artistic act of Johnny Fallowing cyber punk aesthetic, Rackovitzch frequently Rackovitzch may be read as an integral part of his oeuvre prolongs his own extremities with machine parts that are which is encompassed by his artistic appearance. His im- perceived as organic appendices, merging flash and tech- age – a flower in the button hole of his collar and a bow nology in a fascinating android structure. These mechan- as unavoidable fashion accessories, his excess behaviour ical appendices are the kea factor in the simulation of in situations when politeness and bon ton are imperative completely de-erotised act of copulation without sexual – parodies bohemianism in the environment which still arousal that functions as reflex outlet, as a valve – as an conceives art prevalently in romantic terms attaching it explosion counter balancing the implosion of the reality to the image of bohemian. (if equilibrium is still possible). Performing genres, starting from the sixties, have It is important to emphasise that the artist’s goal is not to changed the familiar face of art making it almost unrec- shock but to communicate. Public masochism and self- ognizable. New praxis demanded new rules and certain degradation, brutal, aggressive and uncompromised theoretical discussions which would allow identification behaviour works only within the framing of the cultural of new phenomena leading towards dematerialisation history, where it is placed in the clear context. In order to of art object as art. There was a shift of focus from the art see beyond physical discomfort that Rackovitzch’s perfor- object crowned with aura to artistic act attributed with mances undoubtedly instigate, in order to understand it ritual, almost magical value. Combining brutal scenes we should approach it openly and without prejudice. The and aggressive manipulations of sound, Rackovitzch acts world that glorifies reason and Apollonian light, consis- as a shaman who during the «rite» rejects his selfness that tent with the tradition of Enlightenment, needs a little is he discards his individual identity in order to go beyond Dionysian dark; for without dark there is no illumination. ego, to the limbo of unconsciousness, where he will break free of, in his own words, “universal demons”, and from Irena Šimić

Nenad Džoni Racković Izvanredni Bob

Born in 1967 in Belgrade, Serbia. Lives and works in Belgrade, Serbia. Born in 1978. in Belgrade. Video activist and VJ. The area he most frequently works in is glitch art. Using drops, bugs, Solo exhibitions: cracers, feedback, noise, pixels, Bob creates visual passages that are always 2005. Totem Golootočkog plemena/performance/, Students’ Cultural related to music/sound. Center, Belgrade 2003. Retrospective 1983–2003, Belgrade Youth Cultural Center Gallery, Solo exhibitions: Belgrade 2007. Flicker, Youth Cultural Center, Belgrade 2000. Made in Hell, Belgrade Youth Cultural Center Gallery, Belgrade 2004. BELEF 2003. Globalni seljak, Student Cultural Center, Belgrade Group exhibitions: 2007. MICRO NARRATIVES, 48th October Salon, Belgrade Group exhibitions: 2005. On Normality – Art in Serbia 1989-2001, Museum of Contemporary 2008. 3 Cases – Critics Have Chosen, Belgrade Cultural Center, Belgrade Art, Belgrade 2006. Upgrade Belgrade, Belgrade 2004. Mikropol. Students Cultural Center, Belgrade 2003. NIGHT OF 1000 DRAWINGS – Artist Space, New York

Contact: +381 11 339 1060 Contact: [email protected] 96

Prvo bijenale 15.01 – 26.01. studentskog kolaža

Akademija umetnosti BK je sa svojom katedrom slikar- stva u 2006. godini bila inicijator Bijenala studentskog kolaža. Tim povodom je održana izložba selekcionisanih radova- kolaža studenata Fakulteta likovnih umetnosti iz Beograda, Akademije likovnih umetnosti iz Novog Sada, Više politehničke škole iz Beograda, Fakulteta likovnih umjetnosti sa Cetinja i Akademije umetnosti BK iz Beo- grada.

Zašto kolaž?

Kao tehnika koja je svoj pun razvoj doživela u 20. veku, kolaž danas nije više samo jedna od slikarskožgrafičkih disciplina. On se danas sreće gotovo svuda kao način kompleksnog kreativnog mišljenja koji u vremenu postmoderne nalazi najrazličitije oblike: usavremenoj fotografiji, grafici, diza- jnu, novim tehnologijama i dizajnu... Zastupljenost kolaža kao likovnog postupka na Interne- tu, Televiziji, u video produkciji je takodje od velike važ- nosti i povratno se reflektuje na sama dela iz oblasti čistih likovnih umentosti.

Cilj manifestacije je da se kroz ovu objedinjujuću disci- plinu vizuelnih- likovnih i primenjenih umetnosti napra- vi kvalitativni presek u stvaralaštvu mladih umetnika na dvogodišnjem nivou, ali i da se različite poetike konfron- tiraju kroz otvoren i konstruktivan dijalog i razmenu ide- ja medju studentima. Partnerstvo i zajedničku viziju Bijenale studentskog ko- laža deli sa galerijom Remont iz Beograda , budući da im je misija u promocija mladih talenata. Organizovanje izložbe radova nagradjenih studenata Ivane Kalezić (stu- denta FLU, Beograd), Tamare Đorđević (FLU, Beograd) i Natalije Stanić ( Viša politehnička škola , Beograd) galeri- ja Remont preuzela je na sebe u januaru 2007. godine.

Umetnici: Ivana Kalezić Natalija Stanić Tamara Đorđević

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First Biennale of 15.01 – 26.01. students collage

Art Academy BK with its painting department iniciated Biennale of students collage in 2006. On that occasion there was an exhibition of selected works – students col- lages from Faculty of fine arts Belgrade, Faculty of fine arts from Novi Sad, High Politechnic school from Bel- grade, Faculty of fine arts from Cetinje and Art Academy BK from Belgrade.

Why collage?

As a technique which made its full development in the 20.century collage today is not just one of the painting and graphic techniques. Nowdays it can be seen almost everywhere as a way of complex creative thinking that in postmodern era founds its various forms: contemporary photograph, graphic arts, design, new technologies and design… Its frequent use as a visual method on the internet, tel- evision and video production is also of great importance and reversibly it reflects on works of fine arts.

Through this popular technique in visual and applied arts this manifestation aims to make a qualitative inter- section of young artists production in two years time, and also to confront different poetics through open and constructive dialog of exchanging ideas. Partnership and collective vision of Biennale of students collage and Remont gallery from Belgrade comes through their mutual mission in promoting young tal- ented artists. In january 2007. Remont gallery took its part in organizing exhibition of the awarded students Ivana Kalezić (student at Faculty of fine arts, Belgrade), Tamara Đorđević (Faculty of fine arts, Belgrade) i Natalija Stanić ( High Politechnic school , Belgrade).

Artists: Ivana Kalezić Natalija Stanić Tamara Đorđević

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Perspektive 26.01

Perspektive Perspectives

Art klinika multimedijalnog centra Led Art iz Novog Sada Art Clinique of Led Art multimedia center from Novi Sad predstavila je beogradskoj publici projekat Perspektive, showed its project Perspectives to belgrade public, a koji u saradnji sa istoimenom školom crtanja (Petrovara- project they are carrying out successfully for years with din), već nekoliko godina uspešno realizuje. Projekat je the painting school of the same name (Petrovaradin). The iniciran u cilju promovisanja likovne umetnosti i kulture project was initiated in order to promote visual arts and uopšte i u želji da se podrže mladi stvaraoci u njihovoj culture in general and to support young artists in their afirmaciji na art sceni. Pažnja je usmerena na studente affirmation on contemporary art scene. It is focused on završnih godina likovnog odseka Akademije umetnosti senior students of Art Academy visual department in u Novom Sadu, čije radove na godišnjoj studentskoj Novi Sad, whose works at the annual students exhibition izložbi prati takozvani Žiri laika (ljudi različitih profesija), is viewed by the so called Jury of outsiders (people of i proglašava najbolje stvaraoce u kategorijama slikarstvo, different proffessions) which enounces the best artists in vajarstvo, grafika, novi mediji, dizajn i crtež. Jednodnev- categories of painting, sculpture, graphic arts, new me- ni događaj je obuhvatio prezentaciju dela studenata/ dia, design and drawing. A whole day event included a pobednika Perspektive 5 : Duška Bjeljaca (slikarstvo), Da- presentation of students works/the awarded ones of Per- nila Prnjata (vajarstvo), Zorana Bulatovića (crtež), Jakše spectives 5: Duška Bjeljaca (painting), Danila Prnjata Ćalasana (grafika), Nemanje Deljana (fotografija), Željka (sculpture), Zoran Bulatović (drawing), Jakše Ćalasana Katanića (grafički dizajn) i Vladimira Ivaza (novi mediji). (graphics), Nemanje Deljana (photography), Željka U selekciji su se tako našli portreti Duška Bjeljca koje ka- Katanića (graphic design) i Vladimira Ivaza (new media). rakteriše hiperrealni tretman vidljivog; grafike i crteži Selected works were Duško Bjeljac’s portraits character- Jakše Ćalasana koji minimalnim i svedenim sredstvima ized by hyperrealistic treatment of visible; Jakša Ćalasan’s stvara raspričani svet lične fantazije ; objekat Danila Pr- graphics and drawings where he uses minimum of re- njata – odlučni iskorak iz tradicionalnih vajarskih tehnika straint elements to create a vivid world of personal fan- koji u tematskom smislu ostaje na tragu umetnikove po- tasy; Danilo Prnjat made an object which represents a lazne preokupacije o ispitivanju odnosa čovekovih po- bold outbreak from traditional sculpture techniques and treba i želja u savremenom potrošačkom društvu; foto- in subject matter follows the artist’s preoccupation con- grafije Nemanje Delje, kojima birano portretiše određene cerning relation to mens needs and wishes in contempo- pojedince na čijim se licima prelama i oslikava fizionomi- rary society of consumerism; Nemanja Delja on his pho- ja određenog društva, klase i istorije i drugi… tographs portrays specific individuals whose faces reflect and depict the physionomy of certain society, class, his- tory and other…

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FREE SPACE 29.01 – 15.02 Irena Kelečević

Radom „Free Space“ Irena Kelečević nastavlja da se bavi problematikom prostora kroz ispitavanje odnosa između onoga što ga određuje u arhitektonskom, koncepcij- skom, ili u smislu različitiih promišljanja i doživljavanja istog. Priču o identitetu prostora, u ovom slučaju izložbe- nog, umetnica naglašava davanjem mogućnosti da sami posmatrači/publika intervencijom, tačnije crtanjem po zidovima galerije, postanu aktivni učesnici u upotpunja- vanju, kreiranju glavne premise, „misije“ jednog takvog mesta- ekspozicije vizuelnog sadržaja. Nudeći novim stvaraocima jedino prazne ramove koje su mogli iskori- stiti da „uokvire“ svoje „mini likovne radove“, umetnica je problematizovala pitanje formalnog aspekta prezentaci- je jednog umetničkog dela, njegove jasne „omeđenosti“ u interakciji između privatnog i javnog polja, ličnog i op- šteg momenta. Kelečevićeva je novim radom/projektom, zapravo, aktuelizovala pitanje galerijske situacije koja podjednako zavisi i od umetnika i posmatrača, akcentu- jući ulogu izlagačkog prostora ne kroz očekivanu funkci- ju displeja i uobičajenu komunikaciju na relaciji umetnič- ko delo-posmatrač, umetnik-publika, nego kroz konkret- nu (re)akciju posetilaca, pa i njihovu punu slobodu ulaska u sferu umetničkog i autorsku ravnopravnost u osmišlja- vanju i realizaciji jedne ideje.

Miroslav Karić

Irena Kelečević

Rođena u Rijeci, HR 1975. god. Diplomirala na Fakultetu likovnih umetnosti u Beogradu 2002. god. Magistrirala na istom fakultetu 2006. god. Živi i radi u Beogradu.

Samostalne izložbe: 2005. Prostori razlicitih misljenja, Galerija Zvono, Beograd 2003. Prostor I, Dom Omladine, Beograd.

Grupne izložbe: 2007. Tu i tamo je ovde, BELEF 07, Beograd 2003. Logično BELEF 03, Beograd. 2003. Pozitiv/Negativ, 44. Oktobarski salon, Beograd. 2003. Ideja ne-realizacija, Moderna galerija, Požega; Remont Galerija, Beograd.

Kontakt: [email protected] 104

FREE SPACE 29.01 –15.02 Irena Kelečević

With her work “Free Space“ Irena Kelečević continues­ to deal with space issues through the examination of the relations between its determiners in architectural, con- ceptual sense or in the sense of various reflections and experience of space. The story of the space identity, in this case – of the exhibition space, is emphasized by the artist who gave the opportunity to the audience/viewers themselves by intervention, (actually by drawing on the gallery walls to be more precise) to become active par- ticipants in the creation of the basic premisis, ’mission’ of such a place – the exposition of the visual content. By offering to the new creators only the empty frames which could be used to frame their ’mini visual works’, the artist made an issue of the formal aspect of the pres- entation of a work of art, its clear limitation in the interac- tion between the private and public field, personal and general moment. With her new work, Irena Kelecevic has in fact raised an issue of the gallery situation which equally depends both on the artists and the viewers. She accomplished this by emphasizing the role of the exhibi- tion space not through the expected function of display and the usual communication based on the relation: work of art – viewer, artist – audience, but through the concrete (re)action of the visitors and their unlimited liberty to enter the sphere of artistic and authorship equality in the conception and realization of an idea.

Miroslav Karić

Irena Kelečević

Born in Rijeka, CRO in 1975. 1997 – 2006, BA & MA Degree Faculty of Fine Arts Belgrade.

Solo exhibitions: 2006. Spaces of Different Meanings, Gallery “Zvono”, Belgrade 2003. Space I, Youth Cultural Center Gallery, Belgrade

Group exhibitions: 2007. Here and There is Over Here, BELEF 07, Belgrade 2003. Idea non-realization, Modern Gallery, Pozega; Remont Gallery, Belgrade 2003. Positive/Negative, 44th October Salon, Belgrade 2003. Logical – BELEF 03, Belgrade

Contact: [email protected] 106

merci marcel 16.02 Nataša jovanović

Video „Merci Marcel” + izlozba radova Video “Merci Marcel” + exhibition of works

Merci Marcel je središnji deo video projekta Traktat Troi- Merci Marcel is the central part of video project Traktat ka. Čine ga segmenti A, B i C koji su tri varijacije jedne Troika. It consists of three segments, A, B and C which are ideje – otuđena svest individue sve više podložna slepoj variations of the same idea – alienated consciousness of zakonitosti mehaničke nužnosti i „prinude ponavljanja”… individual that becomes increasingly submitted to laws Akt (autor) koji se penje uz stepenice, akt koji silazi niz of mechanical necessity and the “compulsion repeti- stepenice – metafora apsurda i nemoći da se napravi tion”… Nude (the autor) ascending a stairscase, nude iskorak iz datog sistema (neminovno unutrašnjeg, meta- descending a staircase – metaphor of absurd and inabil- fizičkog – spoljašnjeg, socijalno-društvenog)… vizualiza- ity to step out of the system (certainly the inner one, cija Sizifovskog kretanja... metaphysical – external, social)… …visualization of Sizif`s moving… Projekciju prati izložba radova koji su sastavni deo ovog projekta, veoma su lepi i predstavljaju anti-reklamnu This projection is followed by exhibition of works which kampanju za isti. are assembling part of this project, they look quite nice and they represent anti-campagne for the project itself. Kontakt: [email protected] Contact: [email protected]

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crteži 19.02 –09.03 Olivera parlić

Umetnica/vajarka Olivera Parlić Karajanković koja se u svom stvaralaštvu prvenstveno bavi pitanjima potrošač- kog društva, tumačenjem telesnog i erotskog, ekperi- mentišući sa različitim materijalima, na izložbi u galeriji Remont predstavila se serijom crteža. Kao i u nizu obje- kata, skulptura, instalacija koje poslednjih nekoliko go- dina realizuje, autorka se i u ovim vizuelnim istraživanji- ma poigrava sa postojanošću, prirodom, performansama „građe“ koju obrađuje. Tako za umetnicu inspirativni po- staju oblici ljudskog tela, organa, fizička masa, konstitu- cija, spajanje, uvezivanje, mešanje njihovih elemenata, različitih uloga i funkcija. Uživajući u iznenađenjima koje pruža neprogramirana ruka, u slučajnosti poteza, Parli- ćeva stvara jedinstven imaginarni svet u kom neočekiva- ne linije, uzbudljive forme, teksture i strukture postaju sastavni deo nesvakidašnjih, bizarnih fizionomija, anato- mija bića koja ga posedaju. Naglašenih kontura, jakih boja, androgena, groteskna, „ona“ su katkad ogoljena do rendgenskog snimka, bez ekstremiteta, gigantizovanih ili osušenih udova, i uvek kadrirana u svoj svojoj izmešte- nosti. Autorka zapravo u nizu nadrealističkih figura pre- ispituje momenat složene, (ne)definisane celovitosti ljudskog tela, prirode, identiteta pokazujući pritom sna- gu mašte i crtačke veštine u stvaranju jedne autentične likovne celine...

Miroslav Karić

Olivera Parlić Karajanković

Rođena u Beogradu 1971. god. Diplomirala vajarstvo na FLU, Beograd, u klasi prof. Slavoljuba Radojčića-Caje 1997. godine. Magistrirala na istom fakultetu kod profesora Mrđana Bajića 2000. god.

Samostalne izložbe: 2008. Ručni radovi, Likovna galerija Kulturnog cantra Beograd 2007. Crteži, Galerija Remont, Beograd 2004. Skulpture, Galerija Kolarčeve zadužbine, Beograd 2003. Kolaži, galerija Zvono, Beograd

Grupne izložbe: 2005. Lose Yourself, Galerija KCB-a, Beograd 2005. 46. Oktobarski salon, Kuća legata, Beograd 2005. Schratenberg, Austrija

Kontakt: +381 64 1357895 110

drawings 19.02 –09.03 Olivera parlić

The artist/sculptor Olivera Parlić who primarily deals with issues of consumer’s society, interpretation of erotic by experimenting with different materials, has presented herself at the exhibition in the Remont gallery with the series of drawings. Like with the series of objects, sculp- tures, installations she has realized during the last few years, the author played with constancy, nature and the performances of the ‘material’ she treats in these visual explorations as well. Thus the artist finds inspiration in the shapes of human body, organs, physical mass, con- stitution, connection, binding, mixing of their elements, different roles and functions. By enjoying the surprises coming from the unprogrammed hand, the coincidence of movement, Olivera Parlić creates a unique imaginary world in which the unexpected lines, exciting forms, tex- tures and structures become the consisting part of the extraordinary bizarre physiognomies, anatomies of the beings which dwell in it. With emphasized contours, in- tense colors, androgynous, grotesque, ‘they’ are some- times reduced to an x-ray, with no or amplified or dried extremities and always framed in all of their displace- ment. In the series of surrealistic figures, the author actu- ally reexamines the moment of the complex, (non)de- fined entirety of human body, nature, identity showing at the same time the power of imagination and drawing skill in the creation of a visual whole…

Miroslav Karić

Olivera Parlić Karajanković

Born in Belgrade in 1971. Graduated from Faculty of Fine Arts Belgrade, Department of Sculpture, under Prof. Slavoljub Radojčić-Caja in 1997. 2000 MA from the same faculty under Prof. Mrđan Bajić.

Solo exhibitions: 2008. Handmade, Belgrade Culture Center Gallery 2007. Drawings, Remont Gallery, Beograd 2004. Sculptures, Kolarac Gallery, Belgrade 2003. Collages, Zvono Gallery, Belgrade

Group exhibitions: 2005. Lose Yourself, Belgrade Cultural Center Gallery, Belgrade 2005. 46th October Salon, Legacy House, Belgrade 2005. Hotel Pupik, Schratenberg, Austria

Contact: +381 64 1357895 112

Last Thing I Remember 05.03 viktor šekularac

Posle mnogo godina predanog, istina ponekad haotič- After many years of diligent work – a sometimes chaotic nog i naizgled nasumičnog, fotografisanja situacija iz and seemingly accidental process of photographing situ- svakodnevnog života sa beogradskih ulica, noćnih klu- ations from everyday life on Belgrade streets, in night bova ali i pejsaža i veduta velikih gradova, umetnik jed- clubs, as well as landscapes and vistas of big cities – the nostavno odluči da sumira svoje utiske, donese izvesne artist simply decided to sum up his impressions, to come odluke i krene dalje. to certain conclusions and move on. Shortly before he left Neposredno pre odlaska u Njujork, Viktor Šekularac je u to New York, Viktor Šekularac had had a part of his total galeriji Remont prikazao deo od preko 1000 fotografija opus of over 1000 photographs exhibited in the Remont koje je do tada uradio i time simblično zatvorio poglavlje gallery, in which way he symbolically closed the chapter koje se zove Beograd. Nakon serije Air Struggle u kojoj je entitled Belgrade. Following his series of works called Air pokušao da dočara i prikaže nemogućnost mladog au- Struggle, with which he aimed at recording and present- tora da se kreativno izrazi i razvije u sredini koja pati od ing the debacle of a young author to express himself in an hroničnog nedostatka kreativnog prostora i slobode, environment that suffers from a recurring shortage of free- umetnik konačno uspeva da stvori sebi uslove za odlazak dom and creative space, the artist eventually managed to u svetsku prestonicu umetnosti – New York. effect conditions for his departure to the world capital of Fotografije Viktora Šekularca jesu urbani pejzaži, nastali the arts – New York City. uglavnom u ranim jutarnjim satima, neposredno pre ili The photographs of Viktor Šekularac are urban landscapes, nakon chill-a. Slike nas uvlače u atmosferu okruženja per- taken, for the most part, early in the morning, immedi- cipiranog od tehno generacije. Instinktivno, intenzivno, ately before and after chill. The images draw us into the brzo, segmentirano beleženje kontrastnih situacija iz atmosphere of an environment perceived by the techno perspektive nekoga ko je tu „samo u prolazu“ (u Beogra- generation. The instinctive, intense, quick, segmented re- du, Njujorku ili negde drugde), više pokazuju stanje sve- cording of contrasting situations from the perspective of sti nego stanje stvari. Nema komentara ili stava, samo se someone who is “just passing by” (in Belgrade, New York digitalno memorišu opaženi zatečeni prizori. Izbor ovih or elsewhere), is indicative more of a state of mind than of fotografija pokušava da ukaže na način razmišljanja i di- a state of affairs. There are no comments or attitudes, just leme specifične grupacije („ekipe“) jedne generacije „u digitally memorized perceived images. The selected pho- procepu“, koja besomučno troši i prikuplja energiju od tographs attempt to point to the way of thinking and to partija do partija, brzo i svesno menja privremene poslo- dilemmas of a specific group (“gang”) that belong to a ve, ali i gradove i zemlje, u potrazi za identitetom. generation “caught in a gap” – generation that frantically consume and gather energy in-between parties, quickly Saša Janjić i Darka Radosavljević and deliberately change part-time jobs, as well as cities and countries, in the search of identity.

Saša Janjić i Darka Radosavljević

Viktor Šekularac Viktor Šekularac

Rođen 1980. u Beogradu. Fotograf i dizajner Born in 1980 in Belgrade. Photographer and designer.

Samostalne izložbe: Solo exhibition: 2004. AIR STRUGGLE, Remont Gallery, Belgrade 2004. AIR STRUGGLE, Remont Gallery, Belgrade

Grupne izložbe: Group exhibitions: 2005. BELGRADE – JUST VISITING, Kunstraum Walchetrum, Cirih 2005. BELGRADE – JUST VISITING, Kunstraum Walchetrum, Zurich 2005. ADRENALIN, Dizajn i aktivizam u Srbiji 2005. ADRENALIN, Design and Activism in Serbia 2007. SUPERMARTKET, Maxi Market, Višnjićeva 8, Beograde 2007. SUPERMARTKET, Maxi Market, Višnjićeva 8, Belgrade 2007. Privatni prostor – Javni prostor, Magacin, Beograd 2007. Private Space – Public Space, Magacin [Warehouse], Belgrade 2008. 3 slučaja (Kritičari su izabrali), Kulturni centar Beograda 2008. 3 Cases (Critics Have Chosen ), Belgrade Cultural Center, Belgrade

Kontakt: [email protected] Contact: [email protected] 114

face to face 12.03 –30.03 Milićević / Bosnić

Početkom XIX veka ponesen romantičarskim idejama o hovih radova je pejzaž, moderne vedute savremenih novom odnosu čoveka i prirode nemački slikar Caspar metropola, fotografije uništene prirode, odnosno prizori David Friedrich naslikao je seriju herojskih pejzaža pred- uticaja čoveka i moderne tehnologije na naš životni pro- stavljajući omalene ljudske figure u kontrastu naspram stor. Odnos intimnog/privatnog i javnog prostora u pre- veličanstvene prirode, glorifikujući tako njenu lepotu i naseljenim metropolama i nestajanje, odnosno uništa- moć, ujedno pontencirajući našu beznačajnost i bespo- vanje prirode samo su neke od tema koje se mogu isči- moćnost. Nešto kasnije, jedan od najznačajnijih umetni- tati iz rada umetničkog para Milićević – Bosnić. Ovaj rad ka XX veka Joseph Boys, ukazo je svojom ekološko-umet- kao konceptualna celina nije samo puka kritika društva ničkom akcijom Odbrana priprode na sve prisutnije glo- koje uništava prirodni i javni prostor, već se može posma- balne problem uništavanja čovekove okoline, i ustao u trati i kao bihejviorističko istraživanje modela ponašanja odbranu prirode kao najznačajnijeg egzistencijalnog čoveka i njegovih veza sa sistemima koji ga okružuju i sa resursa savremenog društva. kojima je u svakodnevnoj interakciji.

Početkom XXI veka dvoje umetnika serijom fotografija Promenljivost i zavisnost tog odnosa u kontekstu global- ,,Face to Face” i video radom ,,Providers” istražuju odnos nih trendova reflektuje se podjednako i u mikrokosmosu savremenog čoveka prema prirodi kao i intimni prostor intimnog prostora ali i u hiperprostoru našeg životnog koji proističe iz Iične i umetničke zajednice ovog para, okruženja. Strategija suprotstavljanja intimnog prostora karakterističan, po diarhičnosti ispoljenoj u udvajanju nasuprot javnog prostora, koja nosi u sebi specifičan sadržaja ali i deobi istog. Tako se, kako ističu dalje u svom kontekst ekološkog, kulturološkog ali i ekonomskog fak- stejtmentu, ovakav, naposletku interaktivni prostor defi- tora, značajna je utoliko što prezentuje umetnike kao niše dvojako: sa jedne strane kao istraživanje unutraš- intelektualna bića koja ne reaguju samo na vizuelne fe- njeg polja koje se tiče Iičnog odnosa, intimnog spajanja, nomene, nego i aktivno promišljaju trenutak u kome razlika i sličnosti, i sa druge strane kao istraživanje spo- stvaraju. ljašnjeg polja interakcije koje uključuje pozicije i Iičnog prostora i sredine koja ga okružuje. Glavno polazište nji- Saša Janjić

Milan Bosnić Milica Milićević

Diplomirao slikarstvo na Fakultetu likovnih umetnosti u Beogradu 2001. i Diplomirala slikarstvo na Fakultetu likovnih umetnosti u Beogradu 2003. magistrirao na istom fakultetu 2005. Student postdiplomskih studija na istom fakultetu.

Samostalne izložbe: Samostalne izložbe: 2006. Galerija Zadužbine Ilije M. Kolarca, Beograd 2005. Ambasada Kraljevine Holandije, Beograd 2005. From the Closed Circuits Files, Raccoon Gallery, New York 2005. Galerija zadužbine Ilije M. Kolarca , Beograd

Grupne izložbe: Grupne izložbe: 2007. Mikronarativi, 48. oktobarski salon, Beograd 2007. Mikronarativi, 48. oktobarski salon, Beograd 2006. Step out, Galerija O3ONE, Beograd 2006. Step Out, Galerija O3ONE, Beograd 2005. ORTung 2005, Galerie 5020, Salzburg 2006. Nacionalna Galerija, Beograd

Kontakt: [email protected] Kontakt: [email protected] 116

face to face 12.03 –30.03 Milićević / Bosnić

At the beginning of the 19th century, driven by roman- field of interaction that includes positions of personal tic ideas concerning the new relationship of man and space and surrounding environment. Main departure of nature, German painter Caspar David Friedrich drew a their works is a landscape, a modern veduta of the me- series of heroic landscapes representing small human tropolis, photographs of devastated nature i.e. scenes of figures against the magnificent nature, glorifying its man’s and modern technology’s influences on our envi- beauty and power, at the same time highlighting our ronment. Relation of intimate/private and public space insignificance and powerlessness. Some time later, one in overcrowded metropolis and vanishing and destruc- of the most significant artists of the 20th century Joseph tion of nature are some of the themes that can be read Boys, used his ecological-artistic action Defence of Na- from the work of artists’ couple Milicevic – Bosnic. This ture to point out the present global problems concern- work as conceptual whole is not merely a critique of the ing the destruction of the environment, rising in the society that destroys natural and public space, but also a defence of nature as the most important existential re- behavioural exploration of models of human action and source of modern society. man’s relation to the systems surrounding him that he is interacting on daily basis. At the beginning of the 21st century two artists in the series of photographs “Face to Face” and in the video Variableness and dependability of this relation in the “Providers” are exploring the relation of the modern man context of global trends, is reflected equally in the mi- towards nature and the intimate space emerging from cro-cosmos of intimate space but also in the hyperspace personal artistic union of this couple, characteristic in of our environment. The strategy of confrontation of dierarchy expressed in simultaneous duplication and di- personal space to public space, with its specific ecologi- vision of contents. In this way, as they point out in their cal, cultural and economic factors, is important because statement, this interactive space is defined in two ways: it portrays artists as intellectuals who react not only to first as exploration of the inner field concerning per- visual phenomena but also actively contemplate the sonal relations, intimate connections, differences and moment in which they create. similarities, and second as exploration of the external Saša Janjić

Milan Bosnić Milica Milićević

Graduated from the Faculty of Fine Arts in Belgrade / painting department Graduated from the Faculty of Fine Arts in Belgrade / painting department in 2001. MA at the same faculty in 2005. in 2003. Postgraduate student at the same faculty.

Solo exhibitions: Solo exhibitions: 2006. Gallery of Ilija M. Kolarac Fondation, Belgrade 2005. The Embassy of Kingdom of Netherlands, Belgrade 2005. From the Closed Circuits Files, Raccoon Gallery, New York 2005. Gallery of Ilija M. Kolarac Fondation, Belgrade

Group exhibitions: Group exhibitions: 2007. Micro Narratives, 48th October Salon, Belgrade 2007. Micro Narratives, 48th October Salon, Belgrade 2006. Step Out, O3ONE Gallery, Belgrade 2006. Step out, O3ONE Gallery, Belgrade 2006. ORTung 2005, Galerie 5020, Salzburg 2006. National Gallery, Belgrade

Contact: [email protected] Contact: [email protected] 118

Pregaženi 02.04 –20.04 Gabriel Glid

Gabriel Glid je vrsni vajar koji, prilagođavajući se vreme- čitljivi simbol koji automatski navodi na intimna preispi- nu i razvoju tehnologija, eksperimentiše i u drugim me- tivanja. Naziv izložbe i čista ikonička slika predstavljenog dijima. Podjednako dobar i kao crtač ili dizajner, u ovom motiva veoma direktno pokreću emocije za toliko prega- slučaju svoje veštine koristi da jedan model motiv tran- ženih života, vrednosti i snova. Ali, istovremeno, izbega- sformiše od potpune apstrakcije do simbolične slike. U vajući bilo kakve dramatične elemente i zadržavajući se okviru izložbe, svi radovi bave se istim motivom, šarom samo na čistim i geometrijskim formama umetnik je i kamionskih guma. Inspiracja je potekla od sada već ar- guru koji definiše i sublimira zakone života. Bez lažnog haičnog (ali još uvek u upotrebi) procesa protektiranja optimizma kao alternativa depresivnom osećanju ništav- („budženja”) kamionskih guma, kada se, u nedostatku nosti nudi se dostojanstveno shvatanje – u krajnjem sredstava za kupovinu nove na istrošenu staru osnovu slučaju vreme će pregaziti SVE zarad svakog budućeg lepi novi sloj kako bi se postigao upotrebni kvalitet. trenutka.

Uz saznanje o poreklu materijala/motiva, izložba se može Koloristički, ovo je monohromatska izložba, osim dva čitati na više nivoa: estetski, metaforično, zanatski...vizu- rada! Jedan bi se mogao nazvati detaljem – crveni ko- elno, emotivno, intelektualno...sa opterećenošću zna- mad uzorka gume a drugi je mnogo kompleksniji: print njem o nedavnoj istorijskoj (društvenoj) prošlosti ili na platnu gde otisci guma u tri boje formiraju zastavu bez... Srbije. Upravo „zastava“ prva asocira na pitanje „Šta je to pohabano, a sada prekriveno novim?“ Obrađujući jednostavnu ornamentalnu matricu u različi- Neosporno zanatsko umeće, poznavanje materijala i teh- tim materijalima i tehnikama, umetnik stvara likovne noligija kojima se on obrađuje , uz slojevitost i otvaranje kvalitete kojima u galerijskom prostoru oživljava poetiku različitih načina percepcije, su karakteristike umetničke (ponovljenog) ZNAKA. Od tragova se priča uvek raspliće produkcije Gabriela Glida. Druga važna činjenica je da se unazad. Kao tačka u vremenu posle koje više ništa nije Glid u svojim javnim predstavljanjima ne ponavlja i, ma bilo kao pre. koliko svaka njegova izložba bila drugačija, uvek zadrža- va prepoznatljivi autorski pečat. Otržući jedan motiv iz nesvesne percepcije monotonih ponavljanja svakodnevnice umetnik je izolovao jasno Darka Radosavljević

Gabriel Glid

Rođen u Beogradu 1966. god. Diplomirao na Fakultetu likovnih umetnosti u Beogradu1992. god. i magistrirao na vajarskom odseku istog fakulteta 1994. god. Od 1995-1996 zaposlen kao asistent za skulpturu u metalu na FLU, Beograd.

Samostalne izložbe: 2007. Iz dana u dan, Likovna galerija Kulturnog centra Beograd 2005. Front.Room.galerija, Singapur 2003. Galerija savremene umetnosti, Pančevo 2001. Galerija savremene umetnosti, Niš

Grupne izložbe: 2003. 44. Oktobarski salon, Beograd, Srbija 2003. Lulea sommar Biennal, Lulea, Švedska 2003. ArtLink, IYA 2003, Tel Aviv, Amsterdam, Moskva

Kontakt: [email protected]

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Over Run 02.04 –20.04 Gabriel Glid

Gabriel Glid is an exceptional sculptor who, by adjusting implies intimate revisions. The exhibition title and the to his time and the development of new technologies, pure iconic image of the represented motif, rather di- also experiments in other media. He is as good as a rectly arouse emotions as regards so many over run lives, draftsman or a designer, in which case he uses his talent values and dreams. But, at the same time, by avoiding any to transform one model motif from a complete abstrac- dramatic elements and being faithful to pure and geo- tion into a symbolic image. The works presented at this metric forms, the artist also becomes a Guru who defines exhibition all deal with the same motif – the design of and sublimates the laws of life. Without false optimism as truck tires. The inspiration has its roots in a, by now al- an alternative to a gloomy feeling of nullity, a dignifying ready archaic (though still in use), process of protecting philosophy comes up – leastways, the time will run over (or cobbling together) used tires, when, due to the short- EVERYTHING for the sake of any future moment. age of means to purchase new ones, the old warn-out base is being covered by a new layer in order to become In terms of chromatism, this is a monochromatic exhibi- reusable. tion, with the exception of two works! One could be called a detail – a red piece of tire sample, while the Having in mind the origin of the material/motif, the ex- other is far more complex: a print on canvas, on which hibition can be interpreted on a number of levels: aes- the imprints produced by the tires in three colors form thetic, metaphoric, technical… visual, emotional, intel- the Serbian flag. It is the “flag“ that first calls the question lectual… regardless of our knowledge of the recent “What is in fact warned out to be covered with some- historical (social) past… thing new“?

By elaborating a simple ornamental matrix in different The indisputable craftsmanship, the familiarity with ma- materials and techniques, the artist creates pictorial terials and technologies, the multifacetedness and the qualities, which, in the gallery space, he enlivens with the introduction to diverse ways of perception, all character- poetics of a (repeated) SIGN. The story always untangles ize Gabriel Glid’s artistic production. The other significant backwards from its traces – like that point in time, after fact is that Glid, in his public presentations, never repeats which nothing is as it has been before. himself and, no matter how diverse all his exhibitions may be, they always maintain their author’s signature as Plucking off one motif from an unconscious perception recognizable. of monotonous repetitions of the everyday, the artist iso- lated a clearly decipherable system, which automatically Darka Radosavljević

Gabriel Glid

Born in Belgrade in 1966. Graduated from Faculty of Fine Arts, Belgrade in 1992 and completed his masters in sculpture 1994 at the same faculty. From 1995/1996 works at the Faculty of Fine Arts, as assistant professor for sculpture in metal.

Solo exhibitions: 2007. From Day to Day, Gallery of Belgrade cultural center 2005. Front.Room.Gallery, Singapore 2003. Gallery of Contemporary Art, Pancevo, Serbia 2001. Gallery of Contemporary Art, Nis, Serbia

Group exhibitions: 2003. 44th October Salon, Belgrade, Serbia 2003. Lulea sommar Biennal, Lulea, Sweden 2003. ArtLink, IYA 2003, Tel Aviv, Amsterdam, Moscow

Contact: [email protected] 122

gradski prizori 23.04 –04.05 Aleksandar Bunčić i Nataša Kokić

Nataša Kokić (1979) i Aleksandar Bunčić (1981) predsta- O slikarstvu Aleksandra Bunčića viće u galeriji Remont serije slika sa motivima urbanih pejzaža. Dva mlada autora potpuno su nezavisno stvara- Za razliku od prošlog ciklusa slika Aleksandra Bunčića, li radove u kojima su sličnim likovnim sredstvima beleži- nove slike poseduju elemente sa više simbolike crvene li atmosferu pustih ljudskih staništa. boje tzv. alarmantnog stanja. Povezivanja između razli- čitih kultura uspostavljena su, a mostovi stari u novom * ruhu opominju na prošla, suluda vremena. U ovom slu- čaju umesto obale imamo građenje slova>šablona. ne- Razmišljanje o društvu, tačnije njegovom „naličju“, o na- muštih reči i brojeva 1, 2, 3..., koji sugerišu ne početak. činu kako funkcioniše, o opterećenosti masovnim medi- Verovatno bolji i i zdraviji početak. Strelica oslikava pra- jima, urbanizaciji i velikim korporacijama koje proždiru vac i komunikaciju nase energije nadanja i stremljenja. sve pred sobom, je dovelo do opsesije činjenicom da sve Grafički snažno, mostovi nanovo oživljavaju svoj primar- postaje ravno, dosadno i veštačko; pokrenulo je niz emo- ni pojam povezivanja sklada među ljudima. cija koje su morale da na neki način budu izbačene. Ovakva Bunčićeva opcija je otvorena u svakom smislu i Postalo je očigledno da je prisutna neka vrsta socijalne kao takva teži da označi njegov kulturološki angažman. selekcije koja je pogrešna. Ako osoba nema izuzetno vi- Ideja opšteg utiska je da za nas nepremostivo ne bi tre- sok stepen produktivnosti, nije moguć uspeh na bilo balo da postoji. U likovnom smislu imamo jasan izraz kom nivou. obogaćen uticajem svekolike urbane nam kulture... U pokušaju da se stvori iluzija boljeg života u svetu koji je jako daleko od savršenstva, prikrivaju se greške u siste- Danilo Vuksanović mu koje kasnije izbijaju. Slike nastaju po kadrovima iz dokumentarnog filma.

Nataša Kokić

Nataša Kokić

Rođena u Beogradu 1979. godine. Diplomirala 2005. godine na Fakultetu likovnih umetnosti u Beogradu u klasi profesora Gordana Nikolića i upisala magistarske studije kod istog profesora. Aleksandar Bunčić

Samostalne izložbe: Rođen u Novom Sadu 1981. god. Student Više tehničke škole u Novom 2007. Life Youd Like to Lead, Narodni muzej, Kruševac Sadu, odsek grafički dizajn. Živi i radi u Novom Sadu. 2007. Target Market, Dom omladine, Beograd 2006. Hiperrealno, Nezavisna Umetnicka Asocijacija IZBA, Novi Sad Samostalne izložbe: 2006. Crteži, Galerija Zadužbine Ilije M. Kolarca 2006. Kulturni centar, Novi Sad 2005. B.r.d., kafe galerija Latino, Novi Sad Grupne izložbe: 2003. Pas koji je našao sreću, kafe galerija Latino, Novi Sad 2006. Festival slobodne kulture, Dom omladine, Beograd; 2006. 47. Oktobarski salon – Umetnost, život i pometnja, Beograd Grupne izložbe: 2004. XXXIII izložba crteža i skulptura malog formata studenata F.L.U., 2006. Niš Artfondacija, Niš, Beograd DOB, Beograd 2005. Stalna postavka, galerija Tableu, Novi Sad

Kontakt: [email protected] Kontakt: [email protected] 124

cityscapes 23.04 –04.05 Aleksandar Bunčić i Nataša Kokić

Natasa Kokic (1979) and Aleksandar Buncic (1981) pre- Aleksandar Buncic’s paintings sented the series of paintings with urban landscape mo- tifs in the Remont Gallery. Two young authors have cre- Unlike the previous Aleksandar Buncić’s cycle of paint- ated their works completely intependently of each other ings, new paintings contain elements with more red but their works recorded the atmosphere of the desolate colour symbolism, the so-called “alarming state”. The con- human habitats with similar visual means. necting between different cultures is established and the ancient bridges with their new appearance warn on the * past crazy times. In this case, instead of a river bank, we have building of letters / stencils, words and numbers 1, Reflecting on society, its “back side” to be more precise, 2, 3… which suggest the beginning. Probably the better the way it functions, the fact that it is burdened with and saner beginning. The arrow indicates the direction mass media, the urbanization and big corporations that and communication of our energy of hopes and aspira- devour everything that comes in their way resulted in tions. Graphically intense, the bridges revive their pri- obsession with the fact that everything became flat, bor- mary idea of connecting the harmonies among humans. ing and artificial; it stirred up series of emotions which This kind of Buncić’s option is opened in every sense and had to be expelled in some way. It became obvious that such it inclines to signify its cultural engagement. The there is a kind of social selection which is wrong. If a per- idea of the general impression is that the insurmounta- son does not have an extremely high level of productiv- ble should not exist for us. In visual sense there is a clear ity, success is impossible at every level. In attempt to expression enriched with the influence of the universal create an illusion of better life in the world which is far urban culture… from being perfect, mistakes in system are being dis- guised but later they come out. Paintings are created Danilo Vuksanović according to the scenes from the documentary.

Nataša Kokić

Nataša Kokić

Born in Belgrade in 1979. Graduated from Faculty of Fine Arts, Belgrade in 2005. Student of postgraduate studies at the same faculty. Aleksandar Bunčić

Solo exhibitions: Born in Novi Sad in 1981. Student of Technical School of Advanced Learning 2007. Life Youd Like to Lead, National Muzeum, Kragujevac in Novi Sad, department for graphic design. Lives and works in Novi Sad. 2007. Target Market, Belgrade Youth Cultural Center, Belgrade 2006. Hyperreal, Independent Artistic Association IZBA, Novi Sad Solo exhibitions: 2006. Drawings, Gallery of Fondation of Ilija M. Kolarac 2006. Cultural Center, Novi Sad 2005. B.r.d., Caffe Gallery Latino, Novi Sad Group exhibitions: 2005. Dog which found his Happiness, Caffe Gallery Latino, Novi Sad 2006. Art, Life and Confusion, 47th October Salon, Belgrade 2006. Free Culture Festival, Belgrade Youth Cultural Center, Belgrade Group exhibitions: 2004. XXXIII students’ exhibition of drawings and sculptures, Gallery of 2006. Niš Art Fondation, Niš, Belgrade Dom omladine, Belgrade 2005. Permanent Collection, Gallery Tableu, Novi Sad

Contact: [email protected] Contact: [email protected] 126

portreti 07.05 –25.05 gordana belić

Gordana Belić je u okviru izložbe „Portreti“, u galeriji Re- mont izložila seriju slika (akrilik na kartonu). Umetnica koja se do sada izražavala trodimenzionalnim radovima stvarajući objekte koji međudejstvuju u prostornim in- stalacijama, ovog puta je iskoračila u medij slike tematski se zadržavajući na kursu intimnih, humanističkih preispi- tivanja.

Na prvi pogled sama postavka izložbe posmatrača uvodi u intimističku atmosferu karakterističnu za ceo dosadaš- nji umetnički opus Gordane Belić. Na zidovima galerije u nizu se ređaju slike/portreti devojaka (ili samo jedne de- vojke), živih, ekspresivnih boja uramljenih u mazne ramo- ve od belog veštačkog krzna. U centralnom delu, na- spram ulaza u galeriju postavljeno je veliko damsko ogledalo za šminku. Jednake dimenzije, isti način ramlje- nja i linearno nizanje slika odvraćaju pažnju sa pojedi- načnih radova i naglašavaju da značenjske vrednosti treba tražiti u celini i sadejstvu svih izloženih elemenata. U tom smislu ova, naizgled, klasična izložba slika ipak funkcioniše kao prostorna instalacija koja jeste i komuni- kacioni nivo sa kog se otvaraju pitanja.

Da li se radi o seriji portreta devojaka koje na zavodljiv i upadljiv način poziraju autoru ili je u pitanju serija auto- portreta u kojima je naglašena raznolikost mogućih po- javnosti ličnosti autora? Ova dilema navodi na pitanje konzistentnosti ličnosti i problematike njene percepcije. U čemu se ogleda stalnost crta karaktera u uvežbanom igranju odabranih životnih uloga ili podražavanju dalekih i atraktivnih modela ponašanja?

Marija Radoš

Gordana Belić

Rođena u Bogatiću 1966. god. Diplomirala na vajarskom odseku Fakulteta likovnih umetnosti u Beogradu u klasi prof. Mrđana Bajića 2003. god. 2003. god. upisala postdiplomske studije na vajarskom odseku FLU, Beograd.

Izložbe: 2007. Instalacije skulpture, Galerija Doma omladine 2006. Mobile studios, Beograd 2006. Zoom to fit, galerija Ozon, Beograd 2005. Samostalna izložba skulptura, galerija Kolarčeve zadužbine, Beograd 2005. Nelagodnost u prostoru, galerija SKC, Beograd

Kontakt: [email protected] 128

portraits 07.05 –25.05 gordana belić

On the exhibition “Portraits” in Remont Gallery, Gordana Belic has shown a series of paintings (acrylics on card- boards). The artist who mainly expressed herself up till now with three-dimensional works, making objects that interact within spatial installations, this time stepped out towards the painting medium, remaining in subject on the course of intimate, humanistic introspections.

At first glance the setting of the show introduces the spectator into intimate atmosphere characteristic for Gordana Belić’s complete oeuvre. On gallery walls there are sequences of paintings/portraits of girls (or a girl) in lively expressive colours, enclosed by coddle frames made out of white fake fur. In the centre of the room, opposite to the gallery entrance, there is a lady’s toilet- table with a big mirror. Same dimensions, same framing and linear disposition of paintings, turn the attention from individual works, emphasising that meaning is to be found in the whole and in relations of all exhibited elements. In a sense, this seemingly classical exhibition after all functions as a spatial installation which works as a communication level that poses various questions.

Is this a series of portraits of girls who pose in front of the author in a seductive and striking way, or a series of auto- portraits that underlines the variety of possible appear- ances of the author’s personality? This dilemma strikes a question of consistency of an individual and the issue of its perception. What is the indicator of the constancy of ones nature? Trained role-playing in chosen characters or impersonation of distant and attractive models of be- haviour?

Marija Radoš

Gordana Belić

Born in Bogatić, Serbia in 1966. Graduated from the Faculty of Fine Arts, Belgrade, Sculpture Department (class of Prof. Mrdjan Bajic) in 2003. Postgraduate studies at the same faculty.

Exhibitions: 2007. Instalations sculptures, Gallery of Dom omladine 2006. Mobile Studios“, Belgrade 2006. Zoom to fit, O3ONE Art Space, Belgrade 2005. Solo exhibition of sculptures, Kolarčeva zadužbina Gallery, Belgrade 2005. Nelagodnost u prostoru, Gallery of Students’ Cultural Center, Belgrade

Contact: [email protected] 130

FIELD WORKS 28.05 –15.06 Kustos ZLATAN VUKOSALJEVIĆ

RAD NA TERENU

Izložba Field Works je nastala iz moga interesa za muziku, kolekcije ploča i tajnih snimaka. Bootleg izdanja i ilegalni snimci su se pojavili šezdesetih kao izraz opšteg neras- položenja prema društvenom uređenju. Izraz Field Work- Rad na terenu je referenca vezana za ilegalno snimanje i takođe ima konotacije u antropološkim i arheološkim istraživanjima.

Umetnici su se različito uključili u proces Rada na Terenu. Politički aspekt je bio važan kao polazna tačka za jedne, kao i formalni i konceptualni prilaz za druge.

Tokom organizovanja izložbe Field Works podjednako mi je bila važna istorija ilegalnog snimanja i sve ono što ide uz to, kao i iznenađenje i subverzija umetnika tokom svih aktivnosti vezanih za izložbu.

Zlatan Vukosavljević

Umetnici: Gilbert Bretterbauer (A) Elisabeth Penker (A) Julie Ryan (USA) Walter Seidl (A) Herwig Weiser (A) Zlatan Vukosavljević (SRB/USA)

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FIELD WORKS 28.05 –15.06 Curated by ZLATAN VUKOSALJEVIĆ

FIELD WORKS

The exhibition Field Works comes out of my interest in record collecting and covert recordings. The profusion of bootleggers and illegal recordings emerge out of the 60’s anti-establishment zeitgeist. The term Field Works refers to illegal recordings and also has connotations in anthro- pological and archeological studies.

Each artist engaged separately with the topic of Field Works. While some of the artists bring a political aspect to the show others engage on formal and conceptual levels. In organizing Field Works I am both interested in the his- tory illegal recording brings with it as well as the surprise and subversion the artists and activity produces.

Zlatan Vukosavljević

Artists: Gilbert Bretterbauer (A) Elisabeth Penker (A) Julie Ryan (USA) Walter Seidl (A) Herwig Weiser (A) Zlatan Vukosavljević (SRB/USA)

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Laugh and lie down 18.06 –22.06 jelena spaić

Superheroji su potrebni, ali superheroine su još potreb- We need Superheroes, but what we need even more are nije! Posebno nedeljom! Super heroines! Especially on Sunday!

Katarina Mitrović Katarina Mitrović

Samo znam da bih se sada rado vratio u devedesete. Tad For all I know I would gladly return to nineties. Back then je bilo mnogo lepo. Alternativna kultura je cvetala i svu- it was great. Alternative culture blossomed and energy da je vrcalo od energije. I sve je nekako imalo smisla. sparkled everywhere. And everything somehow made Pošto nemam vremeplov, ja volim da se držim ljudi koji sense to me. Since I don’t have a time machine, I like to su ostali deset godina mlađi i ne prave kompromise sa stick to people who remained ten years younger and tzv. tranzicijom. E, pa takva vam je Spaić familija. Zato je don’t make compromises with so called transition. Well, familija super i ja im ovim putem iskazujem svoj duboki you see, Spaić family is just like that. That is why Spaić respekt. family is great and this way I give them my deep re- spect. Tajni obožavatelj iz Zagreba Secret admirer from Zagreb Niko još nije video sve njene i njihove filmove tako da ako su svi videli bar po neki onda možda ovaj ceo Nobody saw yet all of her and their films so if everyone zajednički tekst malo i ima smisla. Neki filmovi su zauvek saw just a few then maybe this whole group text would zaboravljeni, po raznim montažama većina nemontiranih have some sense. Some films are forgotten forever, in u raznim verzijama, ili već obrisana ili ako je i bekapo- various montage rooms most of them are unmontaged vana (u jednom primerku) onda su u nekom formatu koji in various versions, or even erased or if backuped (just samo taj jedan njihov kompjuter čita, već je izgrebana ili one copy) it is in format only that single computer can nije kod njih više, nego su dali nekom, ali se ne sećaju read, it is already scratched or they don’t have it anymore, kome. O informacijama o svim ovim filmovima moćićete they gave it to someone but they can’t remember whom da ostanete uskraćeni čitanjem ovih tekstova ili za post- exactly. For more information on all these films you will avljana pitanja nakon projekcije, Jeleni Spaić iz produ- be denied by reading these texts or you can ask ques- centske kuce Spaic Family, a prisutan će biti i glavna tions after projection to Jelena Spaić from production muška uloga Milos Spaić i ostali, tagođe glavne uloge. house Spaić family, and also present will be a major male Spaić Family će Vam vrlo rado narezati ove filmove, ne role Milos Spaić and others, all of them major roles too, sve svakako, i ne bas odmah, ali neke možete skinuti i sa Spaić family would gladly write these films for you, of interneta ako se Jelena seća adrese a deo ćete moći course not all of them, and not right away, but some of pogledati i te večeri, večeras (ovde datum, da ne bude them you can download from the internet if Jelena re- kasno i vreme ako saznaš ili ne zaboravis, valjda je u Re- members the address and part of it you can see that montu.) night, tonight ( date, time let it not be too late, if you found out or don’t forget, I guess it is at Remont). Radovan Popović Radovan Popović

Jelena Spaić je rođena 1974. godine u Titovoj Mitrovici. Diplomirala na Jelena Spaić is born in Titova Mitrovica in 1974. Graduated from the Odeljenju za Istoriju umetnosti Filozofskog fakulteta u Beogradu. Osnovala Faculty of Philosophy in Belgrade, Art History department. Creator of Spaić produkcijsku kuću Spaić Family. Spaić Family potpisuju neke od pionirskih Family production house. Spaić Family signs some of pioneer works which radova koji ispituju mogućnosti web cam videa, kao i specifične animacije i are exploring possibilities of web cam video and specific animations and eksperimentalne video radove. experimental video works.

Kontakt: [email protected] Contact: [email protected] 136

SADKO’S VINYL MUSEUM 25.06 –16.07 Sadko Hadžihasanović

Umetničko sazrevanje Sadka Hadžihasanovića vezano je „Moja fascinacija pop kulturom datira još iz tinejdžerskih za kulturni prostor bivše SFRJ. Kada se 1994. godine iz dana. Dok sam gledao sjajne omote LP-ijeva po izlozima BiH iselio za Toronto, veze sa lokalnom umetničkom sce- radnji Titove Jugoslavije osećao sam da sa njima mogu nom su prekinute. Od 2005. godine, Sadko obnavlja kon- imati i deo „Zapadnog sna”. U to vreme, 70-tih imao sam takte i tri leta uzastopno izlaže u Beogradu (Likovna ga- u svojoj kolekciji: Faces – Oh la la, David Bowie – Diamond lerija Kulturnog centra -2005, Galerija Grafički kolektiv – Dogs, Uriah Heap – Demons and Wizards, Led Zeppelin 2006, Remont galerija – 2007). – Houses of Holy. Izložbom Sadko’s Vinyl Museum na neki način odajem Veština i bogatstvo izraza i mašte, kao i dugo odsustvo, poštu ranoj istoriji Rock-a i svojoj prošlosti. dozvolile su umetniku da se ne sve tri izložbe predstavi drugačijim a kvalitetnim i zanimljivim radovima. Ipak, u Na omotima LP-ijeva sam intervenisao na isti način na sve tri izložbe pokazuje senzibilitet koji je Loran Heđi koji sam u pređašnjem radu izvodio crteže i slike na ta- označio kao „mikronarativi”. Njegova poetika koja negu- petama. Neke omote sam potpuno izmenio. Za druge je neposrednost i intimnost autora i upravo stoga lako sam koristio citate iz istorije umetnosti i savremene komunicira sa publikom, bez obzira na izgubljeni konti- umetnosti i mešajući ih sa postojećom slikom dobijao nuitet aktivnog prisustva. kao rezultat brak između readymade-a (Marcel Duc- hamp) i slikarstva…” Izložba u REMONT galeriji je specifična i po tome što se kao predložak za crteže koriste omoti LP ploča koje su Autor o izložbi Sadko’s Vinyl Museum univerzalno karakterisale jednu generciju. Intervenišući na mnogima dobro poznatim „slikama”, indirektno se poigravajući sa kultovima jednog drugačijeg kulturnog modela, Sadko otkriva i svoj intimni odnos prema vreme- nu koje je samo sećanje.

Darka Radosavljević

Sadko Hadžihasanović

Rođen 1959. u Bihaću. Diplomirao slikarstvo na Akademiji likovnih umjet- nosti u Sarajevu, 1982, klasa prof. Milivoja Unkovića. 1984. magistrirao na Fakultetu likovnih umetnosti u Beogradu, klasa prof. Radenka Miševića i prof. Čedomira Vasića.

Od 1994. živi i stvara u Torontu (Ontario), Kanada.

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SADKO’S VINYL MUSEUM 25.06 –16.07 Sadko Hadžihasanović

Artistic maturation of Sadko Hadzihasanović was in My fascination with pop culture going back to my teen- close relation to the cultural scene of former Yugoslavia. age years. Seeing glossy covers of LP in local store in When in 1994 he moved from Bosnia and Herzegovina Tito’s Yugoslavia I was feeling that you could own piece to Toronto, his connections with the local art scene were of Western Dream. In that time – early 70, I had in my broken. Since 2005 in effort to reestablish this relation, collection: Faces-Oh la la, David Bowie – Diamond Dogs, Sadko exhibited in Belgrade during last three summers Uriah Hip – Demons and Wizards, Led Zeppelin – Hous- (Art Gallery of Cultural Centre – 2005, Gallery of Graphic es of Holy…. Collective – 2006, Remont Gallery – 2007). Making exhibition: Sadko’s Vinyl Museum was sort Skill and plentitude of expression and imagination, of tribute to early History of Rock and my past. Using as well as long term absence, permitted the artist to same method as drawing and painting on wallpaper I present himself with three different exhibitions, show- have approached covers of LPs. In one group I changed ing quality and interesting body of work. However, all completely covers as Metric and David Sylvian. On oth- three exhibitions have the same sensibility that may be ers I used quotations from art history or contemporary described with Loran Hegyi’s term “Micronarratives”. His art and mixed with actual image such as Magritte on U2 poetics that cherishes straightforwardness and intimate and Anselmo Kiefer on Bruce Springsteen. approach is very successful in communicating with the public, regardless of the lost continuity. And result for me was marriage between readymade( Marcel Duchamp) and painting album covers include Exhibition in REMONT Gallery is specific in a way that Bob Dylan, Bruce Springsteen, Joni Mitchell, Patti Smith, the artist uses LP vinyl covers (universal characteristic U2, The Allman Brothers, The J. Geils Band, Tubular Bells, of a generation) as inspiration for his drawings. Mak- Iron Butterfly, Metric. David Sylvian, Genesis, Iggy Pop, ing interventions on the well known “images”, indirectly Rod Stewart, T-Rex, The Band, Uriah Heap, Ten Years Af- playing with cults of a different cultural model, Sadko ter, Michael Jackson, The Simple Minds, David Bowie, reveals his intimate relation towards a time that is now America, Eagles, Elton John, Sade, The Animals and YU only a memory. grupa.

Darka Radosavljević Author about exhibition Sadko’s Vinyl Museum

Sadko Hadžihasanović

1959. born in Bihać , Bosnia. 1982. B.F.A. Academy of Fine Arts, Sarajevo, Bosnia. 1984. M.F.A. Faculty of Fine Arts, Belgrade, Serbia. From 1994. lives and works in Toronto, Canada.

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Real Presence 27.08 –29.08

Real Presence je najveća međunarodna radionica za Real Presence is the biggest international workshop for umetnike u usponu koja trenutno postoji na Balkanu. emerging generation of artists currently existing in Bal- Osobenost radionice je njen eksperimentalan i međukul- kan region. Particularity of workshop is in its experimen- turni pristup zahvaljujući kom je ona od 2000. godine do tal and cross-cultural approach thanks to which, from danas razvila inovativne i nekonvencionalne metode 2001 till now, it developed innovative and unconven- rada sa studentima umetnosti i umetnicima u usponu u tional method of working with art students and emerg- obliku alternativnog obrazovnog sistema razvijenog u ing artists as alternative educational system developed vezi sa studijama klasične umetnosti u umetničkim ško- in correspondence with classical art studying at the art lama na akademijama lepih umetnosti. schools and fine art academies.

Osnovna ideja ove manifestacije je da se stvori tačka su- Basic idea of this manifestation is to create a meeting sreta za umetike u usponu i da im se pruži mogućnost da point for emerging artists giving them a possibility to razmene iskustva, realizuju zajedničku saradnju i zajed- exchange experiences, realize collaborations and joint ničke projekte, u gradu poput Beograda koji je posle projects, in a city like Belgrade that, after long period of dugog perioda ratne krize, kulturne izolacije i trnovite war crisis, cultural isolation and thorny transition, pre- tranzicije, ispoljio potrebu da otvori svoje kulturne gra- sented a need to open up its cultural boundaries. nice. Therefore Real Presence has been conceived in a way to Može se zaključiti da je umetnička radionica Real Presen- become a sort of a bridge capable to rise above frag- ce osnovana kako bi postala svojevrsni most koji je u ments of the past time and to construct new channels stanju da se uzdigne iznad fragmenata prošlih vremena that could permit a dynamic flux of ideas, energies and i da izgradi nove kanale koji mogu da dopuste protok visions for the future. In following years this bridge has ideja, energija i vizija za budućnost. U godinama koje su been transformed to a powerful construction, to a sort usledile ovaj most je transformisan u moćnu građevinu, of spontaneous and fluid behavioural architecture and u neku vrstu spontane i fluidne bihejvioralne arhitekture in communicational network in constant evolution. i u komunikacionoj mreži u stalnom razvitku. Thanks to more than 1000 participants, of we might say, Zahvaljujući više od 1000 učesnika, mogli bismo reći, da “Real Presences” that crossed Belgrade and other territo- se radionica Real Presences koja je prošla kroz Beograd i ries and parts of the world, between 2001 and 2007, it is kroz druga mesta i delove sveta, u periodu između 2001. possible to consider this manifestation as unique of its i 2007. godine, može smatrati jedinstvenom manifestaci- kind, permanently engaged in opening the boundaries jom, trajno aktivna kada je u pitanju otvaranje granica i and developing new modes of educational and cultural razvoj novih načina obrazovnog i kulturnog angažmana. engagement.

Umetnici: Artists: Federica Bruni (IT) Federica Bruni (IT) Francesco Pellegrini (IT) Francesco Pellegrini (IT) Igor Bošnjak (BIH) Igor Bošnjak (BIH) Vanja Mervič (SLO) Vanja Mervič (SLO)

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Proces 03.09 –20.09 Tamara radanović

Ranjivost tela log, već inicira jedan potpuno drugačiji odnos: prepušta se pogledu, i u isto vreme se povlači da bi ostalo prikri- Fotografije Tamare Radanović navode me na pomisao da veno i nepoznato. Pretvara se u naboran, izuvijan, izbraz- kada je Artur Rembo izrekao svoje čuveno „Ja je neko dan teren. Promenjen mu je ne samo izgled već i sama drugi” (Je est un autre) zapravo nije mislio na neko prošlo tekstura. Koža postaje nepoznati reljef, mesečeva povr- ja, niti na to kako nas drugi vide, već na sopstveno telo. šina potpuno izložena eroziji i udarcima spolja, nemoćna Ono što nam je najbliže, ono sa čim smo najintimniji, za- da savlada eksplozije i urušavanja iznutra. pravo je najudaljenije i najviše strano. Tamarini epidermalni predeli govore o ranjivosti tela, o Tamara koristi foto aparat kao teleskop ili mikroskop, njegovoj trošnosti, kojoj čudno nedostaje bol. Nameću odnosno kao optičku napravu koja nam pomaže da vidi- se kao jedno drugačije lice: nemo, slepo, gluvo. Ne više mo to što je daleko i nepoznato, a zapravo je uvek tu. najveći organ ljudskog tela, vec potpuno drugo, strano Viđeno na ovaj način, telo gubi zapreminu, a sa njom i biće. Ja više nije samo neko drugi, već nešto drugo. prepoznatljiv oblik. Ono dobija drugačiju izražajnost od izražajnosti portreta. Naime, lice sa fotografije, ma kako Branislav Jakovljević izobličeno, uvek donekle zadržava moć da nam uzvrati pogled i da na taj način uspostavi neku vrstu uzajamno- (autor je profesor teorije performansa, kritičke teorije, avan- sti. Tamara nam pokazuje telo koje je postavljeno izvan garde i eksperimentalnog teatra na Univerzitetu Stenford, tog ljudskog odnosa. Ono se ne trudi da uspostavi dija- SAD)

Tamara Radanović

Rođena 1978. god. u Beogradu. Završila višu filmsku školu Dunav Film, smer filmska/TV kamera u klasi profesora Radoslava Vladića. Kao fotograf radila u magazinima Maxim, Playboy, Lisa, Status, net magazinu U pravu si, izbegličkom magazinu (UNHCR) Pravi odgovor, dnevnim novinama Danas. Fotograf na filmu Kad porastem biću Kengur. Urednik fotografije u nedeljniku Reporter.

Samostalne izložbe: 2000. Usamljenost, Galerija Kulturnog centra, Kotor

Grupne izložbe: 2003, 2004. YU Press Photo 2002. Slobodna tema, Anderground klub, Beograd 2001. Izložba minijatura, Galerija Studentski grad, Beograd

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ProceSs 03.09 –20.09 Tamara radanović

Body vulnerability the same time withdrawing itself seeking to remain hid- den and unknown. It turns itself into folded, curved sur- Photographs of Tamara Radanović remind me that when face. It changes not only its appearence evenmore its Arthur Rembo wrote his famous “I is the other one“ (Je texture. Skin becomes an unknown relief (ground), moon est un autre) he actually wasn’t thinking of some past self, surface completely exposed to erosion and outside kicks, or the way other people see us, more so the body itself. helpless to indure explosions and scaffoldings within. It is something closest to us, the most intimate and in- deed the most alienated one. Tamara’s epidermal landscapes speak of body vulnerabil- ity, its degradation that strangely discards the pain itself. Tamara uses her camera as a telescope or a microscope, They reveal one different face: silent, blind, deaf. Not any- as an optical tool that helps us see the distant and the more the biggest human organ, more so a completely unknown which is actually always present. Seen in this different and strange being. I is no longer just somebody way body loses its volume and along with it even its de- else evenmore it is something else. fineable shape. It gains a quality of expression different from portrait expression. Actually, a face on the photo- Branislav Jakovljević graph, as much it may seem diformed never loses its power to give back a look making a kind of interaction. (the author teaches theory of performance, critical theory, Tamara shows us the body set out of human relation. It avanguard and experimental theatre at Stanford Univer- no longer seeks to make a dialog, more so it initiates a sity, USA) whole new relation to it: Opening itself to the eye and at

Tamara Radanović

Born in Belgrade in 1978. Completed Dunav film film school, film / TV camera department, class of Prof. Radoslav Vladić. As a photogapher worked in magazines: Maxim, Playboy, Lisa, Status, net magazine U pravu si, refugees’ magazine (UNHCR) Pravi odgovor; in daily newspapers Danas. Photography for film Kad porastem biću Kengur. Photography Editor in Reporter magazine.

Solo exhibitions: 2000. Solitude, Cultural Center Gallery, Kotor, Montenegro

Group exhibitions: 2003, 2004. YU Press Photo 2002. Free Theme, Club Anderground, Belgrade 2001. Exhibition of Miniature, Gallery of Studentski grad, Belgrade

Contact: [email protected]

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Jubilej 50 Jubilee 21.09 –28.09 Aleksandar Rafajlović

Pozicija savremenog umetnika u sistemu društvenih skim umetnicima. Dobitnik „Politikine” nagrade i nagra- vrednosti Srbije je izuzetno nezavidna. Često se dešava de „Oktobarskog salona” 2005. godine. “... da kvalitetno umetničko delo bude prepoznato i nagra- No, za razliku od sportista, živi umetnici očigledno treba đeno od strane stručnjaka, ali se na tome sve završava. U nešto da sačekaju. Na izložbi „Jubilej 50“, Rafajlović, inte- kulturnoj politici, ako je u našoj sredini uopšte ima, tačka ligentno, promišljeno i pedantno, na osnovu ličnog pri- spoticanja je i nedostatak jasne podrške najznačajnijim mera – kroz obeležavanje znamenitih događaja iz života pojedincima, ma koliko autor u stručnim krugovima bio i pravljenjem grafičkog rešenja za potencijalnu marku podržan i proveren. Zajedno sa jedokratnim, povreme- posvećenu svom liku i delu, opisuje poziciju umetnika u nim i najčešće samo informativnim odnosom retkih me- Srbiji danas. Od fotografija koje beleže rođenje muškog dija koji prate kulturu, stvoren je zatvoreni sistem male potomka, preko vezenih jastuka, uveličanog uzorka ptt društvene grupe koju čine stručnjaci, umetnici i nekoli- marke posvećene pedesetogodišnjici rođenja, do mer- cina njihovih prijatelja. Nevidljiva barijera nepoznatog merne ploče sa uklesanim tekstom o umetniku, beleži porekla koja odvaja umetnika kao socijalno biće od šire ključne životne trenutke. Istovremeno, pažljivo se opre- društvene zajednice i dalje postoji. deljujući za momenat i način predstavljanja, depersona- Izložba “Jubilej 50” se upravo bavi problemom nevredno- lizuje problem koji je opšti i odnosi se na ne mali broj vanja umetničkog stvaralaštva i skrajnutim položajem srpskih umetnika značajnih u lokalnom i internacional- umetnika. Ako se kao neosporna činjenica prihvati da nom kontekstu. On opominje zajednicu koja uporno postoje vrhunski umetnici kao i vrhunski sportisti koji su zatvara oči pred nesumnjivim i dokazanim vrednostima reprezenti svoga naroda, pa čak i da se „prizna“ da je po- – savremenicima koji su reprezenti društva i novog stva- pularnost sportista neuporedivo veća nego umetnika ralaštva, pokušavajući da probije imaginarnu i paradok- (izuzimajući glumce), disproporcija odnosa društvenog salnu opnu zatvorenog sistema. sistema prema ove dve grupe izuzetnih pojedinaca je Rafajlović je umetnik bitan za našu zajednicu. Ne samo zaista zabrinjavajuća. zbog najvećih priznanja koje je dobio, već i kao osoba U ovom slučaju paralela sa sportistima se nameće sama. čija delatnost izlazi iz ličnih okvira. Posvećen svom poslu, Nedavno je Jugomarka proizvela poštanske marke sa li- osoba koja prati vreme (ili ide ispred), koja u svojim rado- kovima aktivnih sportista- tenisera. Treba pomenuti da vima uvek visoko kvalitetne (samofinasirane) produkcije, specijalne serije maraka postoje već neko vreme a 2007. targetira najvažnije teme i probleme percepcije umetnič- godine Jugomarka je izdala više serija posvećenih pre- kog dela i položaja umetnika danas i ovde. minulim domaćim i stranim velikanima: „Velikani srpskog pozorišta” (Petar Dobrinović, Milka Gr- Darka Radosavljević gurova Aleksić, Ljubiša Jovanović, Rahela Ferari, Branko Pleša, Ljuba Tadić, Miodrag Petrović Čkalja, Danilo Bata Stojković), „Velikani nauke“ (Đuzepe Okjalini, Vilijam Tom- son Kelvin od Larga, Dmitrij Ivanovič Mendeljejev), „Umetnost“ (Uroš Predić, Đura jakšić, Frida Kalo), speci- Aleksandar Rafajlović jalno izdanje sa likom Petra Lubarde. Kada je septembra meseca, na datum rođendana Alek- Rođen u Beranama, Crna Gora 1957. godine. Dilomirao na Fakultetu lik- sandra Rafajlovića, otvorena izložba Jubilej 50, zanemar- ovnih umetnosti u Beogradu 1980. godine, odsek slikarstvo i postdiplomske ljivo malo broj poznavaoca kulturnih prilika je posum- studije 1983. godine na istom fakultetu. Specijalizacija na L’Ecole Nationale njao u istinitost pozivne informacije: superieure des Beaux-Arts u Parizu 1983./84. „U ime PTT sistema Srbije, „Jugomarka”, koja je zadužena za realizaciju godišnjih programa izdavanja poštanskih Samostalne izložbe: maraka, štampala je marku sa likom Aleksandra Rafajlo- 2008. S M L XL, Galerija Artget Kulturni centar Beograd vića, kao prvu u seriji posvećenu savremenim likovnim 2006. Memoria pintada, LM Galeria de arte, Sintra, Portugal umetnicima u Srbiji, a povodom pedesetogodišnjice ro- 2004. Posao, Prodajna galerija Beograd đenja ovog istaknutog umetnika.“ Aleksandar Rafajlović, umetnik bez kojeg je nezamisliva Grupne izložbe: savremena umetnička scena u Srbiji, jedan od retkih pot- 2007. Carrefour 2007, Kulturni centar Srbije, Pariz, Francuska puno posvećenih svojoj umetnosti, stvaralac koji nikada 2005. Umetnost koja radi, 46. Oktobarski salon, Kuća legata, Beograd nije pravio kompromise, autor u koga se na neviđeno 2005. O normalnosti. Umetnost u Srbiji 1989-2001, Muzej savremene može imati poverenje i koji spada u mali broj stvaralaca umetnosti, Beograd koji svojom autentičnošću stoji ravnopravno sa evrop- Kontakt: [email protected] 148

Jubilej 50 Jubilee 21.09 –28.09 Aleksandar Rafajlović

The position of a contemporary artist within the system of However, unlike the sportsmen, the living artists evident- social values in Serbia is tremendously unenviable. It often ly still have to wait for something. In the exhibition “Jubi- happens that a good-quality work of art is recognized and lee: 50”, Rafajlović intelligently, methodically and sophisti- praised by connoisseurs, but that is how it usually ends. In catedly, following his own example – by way of marking cultural politics, if something of the kind exists here, the some noteworthy events from his life and offering a lack of obvious support to the most important individuals, graphic solution for a potential postal mark dedicated to regardless of the encouragement they take pleasure in his image and work – describes the position of artist in within expert circles, becomes the major stumbling block. Serbia nowadays. From photographs that registered the Besides one-shot, occasional, and most often only informa- birth of his male offspring, to embroidered pillows and an tive treatment of innumerous media that cover cultural is- enlarged sample of the PTT postal mark dedicated to the sues, an enclosed system of a small community was formed, 50th jubilee, and the marble plaque with the incised text consisting of experts, artists and a tiny group of their about the artist, this exhibition represents the key mo- friends. An invisible barrier of unidentified origin still sepa- ments in the artist’s life. At the same time, carefully choos- rates an artist as a social being from the general public. ing the right moment and the means of presentation, the The exhibition “Jubilee: 50“ attends to the very problem of artist attempts at depersonalizing the problem shared by under-valuing the contemporary art production and the a great number of Serbian artists, important both in local marginal position of the artists. If we take it for granted and international circles. He reproaches the community, that there are exceptional artists just as well as there are which determinedly keep their eyes closed before indis- exceptional sportsmen, who represent their country, and putable and approved values – his contemporaries who even if we “acknowledge” that the popularity of the latter are the representatives of our society and a new creativity, is incomparably greater (with an exception of actors), the trying to break through an imaginary and paradoxical social system’s disproportion as regards these two groups membrane of the enclosed system. of extraordinary individuals is really upsetting. In this case, Rafajlović is an important artist for our community. Not the analogy with the sportsmen imposes itself – “Jugo- only thanks to the greatest recognitions he has received, marka“ has recently launched a series of postal stamps but also as a person whose activity steps out of his per- with the portraits of active tennis players. It should be sonal perimeter. Committed to his vocation, hand in hand mentioned that a restricted series of postal stamps has with time (or sometimes ahead), and with the works of existed for a while, and in 2007, “Jugomarka“ has produced high quality (self-financed) production, Rafajlović targets more series dedicated to the late local and international the most significant themes and issues of perception of persons of high rank: the work of art and the position of artists here and now. “The Great Men of Serbian Theatre” (Petar Dobrinović, Milka Grgurova Aleksić, Ljubiša Jovanović, Rahela Ferari, Branko Darka Radosavljević Pleša, Ljuba Tadić, Miodrag Petrović Čkalja, Danilo Bata Stojković), “The Great Men of Science“ (Giuseppe Occhialini, William Thomson Kelvin of Largs, Dmitri Ivanovich Men- deleiev) and “Art” (Uroš Predić, Đura Jakšić, Frida Kahlo), and a special edition with the portrait of Petar Lubarda. In September, on the day of Aleksandar Rafajlović’s birth, Aleksandar Rafajlović when the exhibition “Jubilee: 50“ was opened, only a small number of connoisseurs of cultural issues called in question Born 1957 in Berane, Montenegro. Graduated from the Faculty of Fine Arts, the verity of the following information: Belgrade, department of painting. Holds an MA Degree from the same Fac- “In the name of the PTT system of Serbia, “Jugomarka“, ulty since 1983. Specialization at L’Ecole Nationale superieure des Beaux- which is in charge of the realization of the annual program Arts in Paris 1983/84. of postage stamps issues, launched an edition with the like- ness of Aleksandar Rafajlović, as the first in the series dedi- Solo exhibitions: cated to contemporary visual artists in Serbia, and on the 2008. S M L XL, Artget Gallery, Belgrade cultural center occasion of the 50th birthday of this distinguished artist. 2006. Memoria pintada, LM Galeria de arte, Sintra, Portugal Aleksandar Rafajlović, an artist without whom it becomes 2005. One One, Art Gallery “Nadežda Petrović”, Čačak impossible to imagine the Serbian art scene nowadays, one of those rare artists completely dedicated to his art, a Group exhibitions: creator who has never agreed to make compromises, an 2007. Carrefour 2007, Serbian Cultural Center, Paris author in whom one may have immense confidence, and 2005. Art that Works, 46th October Salon, Belgrade who belongs to the small group of those who, owing to 2005. On Normality. Art in Serbia 1989-2001, Museum of Contemporary their authenticity, are on a par with their fellow European Art, Belgrade artists. He received the “Politika” award and the “October Salon’ award in 2005”. Contact: [email protected] 150

slični 01.10 –12.10 aleksandrija ajduković

Visibility as mobility of possibility Neizdrživ je taj zgusnuti prostor dvosmislene stvarnosti, do pola humanizovane, kao kentaur. Šole je priznao u okružnom sudu u Gospiću da je ubio čoveka. Tu događaji nisu kratkotrajni fantomi na površini, tu oni To je prestanak realnosti. puštaju korenje u dubinu.2

Ali, portretisani kao da pričaju o modi, nema emocija, Sve(s)t ponire u Bezdan. kao da je reč o vremenu, nema katarze, smeškaju se. Vizibilnost nam je vraća. Nalazimo se u konzervisanoj zoni nevidljivog / ubistva. Aleksandrija ne izražava stav, već intervjuom pakuje vi- Jelena Spaić zuelizovanu priču koja još uvek traje i odbranu od nje. Jer destrukcija provocira odbranu. Intervju je artikulacija panične svesnosti o praznini ponora koje ovakvo sazna- 2] Bruno Šulc, Republika snova, Letopis Matice nje stvara. srpske, mart 2001.

Ritam zločina – ZNAO Sam, Morao je, i ranije je, po ste- penistu, nije moja generacija, ne znam, niti pojma imam – je sve sporiji i tiši, gotovo da nestaje, nema ga, nije se desilo, ništa se nije promenilo.

Ponovo je uspostavljen puls.

Protagonisti utiču na radnju ne dozvoljavajući da radnja utiče na njih! Intervju je TRIJALOG-Aleksandrija-meštani- svetovi. Odbrana i poslednji dani.

Šole je priznao... crna rupa je usisala sav naš univerzum i sada unutar nje brzo kreiramo drugi, supstituciju u kojoj smo nekako spremni za to saznanje, prepoznali smo na- goveštaje i nismo uzdrmani. Aleksandrija Ajduković Šole, drug iz razreda, ubica, Bog te maz’o, ne može se živeti unutar te turbulencije! Rođena 1975. god. U Osijeku, HR. Diplomirala na Akademiji umetnosti “BK” u Beogradu, odsek fotografija. Student poslediplomskih interdisciplinarnih Zato Aleksandrija sve smiruje, nema krvi, nema grimasa, studija na Univerzitetu umetnosti u Beogradu na smeru višemedijska umet- nema kjaroskura, nema teskobe, sunce je i zeleni se lišće, nost. kao početak Linčovog Plavog somota – tulipani u slow motionu. To je oslobađanje od gravitacije1 unutar pod- Samostalne izložbe: svesti. Tvrdokorna realnost gubi konzistentnost. Da bi se 2007. Slični, Galerija Remont, Beograd lakše svarila – dezintegriše se. Beztežinsko stanje. 2006. Werk präsentation-Artist in Residence, Galerie Artpoint, KulturKon- takt, Beč, Austrija Sumnja se da je počinio više ubistava. 2005. Oigiang, SKC, Kragujevac, Srbija 2004. Tigrice, Galerija Doma omladine, Beograd

Grupne izložbe: 2006. Eye 2 Eye, izložba fotografkinja sa tri kontinenta, V-Art Gallery Café, Yogyakarta, Indonezija 2005. Aktuelle Fotografie aus Serbien, Galerija Fotohof, Salcburg, Austrija 2004. Kontinentalni doručak, 45. Oktobarski salon, Artget, Beograd 1] Gravitacija kao posledica činjenice da kontini- uum prostor – vreme nije ravan nego zakrivljen. Kontakt: [email protected] 152

ALIKE 01.10 –12.10 aleksandrija ajduković

Visibility as mobility of possibility In there events are not just ephemeral phantoms on the surface; in there they release stems very deep.2 Shole admitted at the Court of law in Gospic he killed a Everything (consciousness) merges into abyss. man. Visibility returns it to us.

It is the abolishment of reality. Jelena Spaić

The ones portrayed as if they are talking about fashion, emotionless, as in a talk about whether, no catharsis, they 2] Bruno Šulc, Republika snova, Letopis Matice are smiling. We find ourselves in a conserved zone of the srpske, mart 2001. invisible/murder. Alexandria expresses no statement, let- ting her interview to visualize the story that is still going and at the some time it is her defense from it. Because destruction provokes defense. The interview is an articulated form of panic awareness of an empty void this kind of knowledge makes.

Rhythm of crime – I KNEW, he had to, even earlier, on the staircase, not my generation, don’t know, don’t have a clue – gets slower and more silent, almost disappears, it is gone, it never happened, nothing changed. The pulse returns again.

Protagonists had their impact on story not letting the story affects them! Interview is TRIALOG-Alexandria-lo- cals-worlds?

Defense and the last days.

Shole admitted… black hole sucked in our whole uni- verse and now within it we create a new one, a substitute where somehow we are ready to accept that knowledge, we recognized all hints and we are not shaken. Aleksandrija Ajduković Shole, a friend from school, a murderer, oh my God, you can’t live inside that turbulence ! Born in Osijek in 1975. Graduated photography from Academy of Arts “BK” in Belgrade. Postgraduate student of a multimedia art at the University of And that is why Alexandria calms down everyone, no Art, Belgrade. blood, no expressions, no chiaroscuro, no anxiety, it is sunny and the leaves are green, like the beginning of Solo exhibitions: Lynch’s Blue Velvet – tulips in slow motion. It is a state free 2007. Similar, Remont Gallery, Belgrade of gravity1 inside subconscious. Hardcore reality loses its 2006. Werk präsentation-Artist in Residence, Gelerie Artpoint, KulturKon- consistency. To be accepted easier – it disintegrates. A takt, Vienna, Austria state free of gravity. 2005. Oigiang, Students Cultural Center, Kragujevac, Serbia 2004. Tigresses, Gallery of Youthe Cultural Center, Belgrade, Serbia It is suspected he committed several crimes. Group exhibitions: It is almost unbearable, that dense space of ambiguous 2006. Eye 2 Eye, collaboration exhibition of female photographers from 3 reality, half human, half centaur. continents, V-Art Gallery Café, Yogyakarta, Indonesia 2005. New Serbian Photography, Gallery Fotohof, Salzburg, Austria 2005. Women about Women, European Bulgarian Cultural Center, Sofia, Bulgaria 1] Gravity as a consequence of the fact that space– time continuum is not flat but curved. Contact: [email protected] 154

ODSLIKAVANJA 15.10 –02.11 anica vučetić

Anica Vučetić je beogradska umetnica koja već dugi niz godina aktivno stvara na beogradskoj umetničkoj sceni, posebno na polju eksperimentalnih višekanalnih video i ambijentalnih instalacija. U galeriji Remont Anica Vučetić je predstavila instalaciju pod nazivom Odslikavanja, koja koristeći naše najmoćni- je čulo, čulo vida pokušava da otkrije povezanost unu- trašnjeg, duhovnog stanja i informacija koje svakodnev- no primamo.

Iris oka je tačka dodira našeg unutrašnjeg prostora i onog koji nas okružuje, tačka odraza unutrašnjeg prosto- ra i odraza i prijema slika spoljnjeg sveta. Dvostrano ogle- dalo. Tradicionalnom metodom lekar iridolog iščitava na irisu fiziološko i funkcionalno stanje organizma i psihosomat- ske uslovljenosti koje dovode do promena. Ovo otkriva- nje mape našeg tela‚ sadržane u krugu irisa, pokazuje najtananiju povezanost i uticaj stanja duše na telo. Sa druge strane ogledala, slike koje primamo iz spoljnjeg sveta oblikuju naš duhovni svet i utiču na naša psihološ- ka stanja, dodiruju se sa dušom.

Anica Vučetić

Anica Vučetić

Rođena 1962. godine u Zemunu. Diplomirala slikarstvo na Fakultetu lik- ovnih umetnosti u Beogradu 1986. god. i magistrirala 1989. god. na istom fakultetu. Član ULUS-a od 1987. godine. (Sekcija proširenih medija).

Samostalne izložbe: 2007. Odslikavanja, Galerija Remont, Beograd 2006. Sažimanje – video ambijent, Kulturni centar Beograda 2001. Ambijentalni radovi – Muzej Ludwig Forum za internacionalnu umetnost, Ahen, Nemačka

Grupne izložbe: 2005. VALEURS, Espace Culturel François Mitterrand du Conseil général de la Dordogne, Périgueux (Francuska) 2004. Vrednosti 11-to Bijenale vizuelnih umetnosti, Pančevo 2000. Hanging Around I – Kultur Centrum Sittard, Holandija

Kontakt: [email protected] 156

REFLECTIONS 15.10 –02.11 anica vučetić

Anica Vučetić is an artist from Belgrade who is actively present on the Belgrade artistic scene a number of years. Her special field of interest is experimental multi-chan- nelled video and ambient installations. In Remont gallery Anica presented herself with the installation named Reflec- tions. By the means of our most powerful sense, our sight, she tries to reveal the interconnections between our inner, spiritual state and information we receive each day.

Eye Iris is a meeting point of man’s inner space and a space which surrounds him. A point of inner space reflec- tion, and reflection and reception of outer world images. Double-sided mirror.

With traditional methods iridologist reads out from iris physiological and functional state of organism and psycho- somatic precondition which leads toward mutations. De- tected map (chart) of our body which is held in iris cycle shows us delicate correlation between soul and body.

On the other side of the mirror, images we are accepting from outside are shaping our spiritual world and affect- ing our psychological state, meeting our soul.

Anica Vučetić

Anica Vučetić

Born in Zemun, Belgrade in 1962. University of Arts in Belgrade – Faculty of Fine Arts, Graduate Studies – Bachelor of Arts, Painting (1986), Postgradu- ate Studies – Master of Arts, Painting (1989).

Solo exhibitions: 2007. Reflections, Remont Gallery, Belgrade 2006. Compression – video ambient, Belgrade Cultural Centre, Belgrade 2001. Environmental Works – video installations, environments’ Ludwig Forum for International Art, Aachen, Germany

Group exhibitions: 2005. VALEURS, Espace Culturel François Mitterrand du Conseil général de la Dordogne, Périgueux (France) 2004. 11th Biennial of Visual Arts VALUES, Pančevo, Serbia 2000/01. Hanging Around, Kunstcentrum Sittard, Nederland

Contact: [email protected] 158

Prezentacija projekata sa konkursa 2007 nenad glišić 12.11 –23.11

Video rad Nenada Glišića prikazuje usporeni snimak bru- Video by Nenad Glisic confronts us with slow motion talnog treninga pitbul terijera koga vlasnik, inače gitari- footage of a brutal training for a boxing mach of a pit bull sta popularnog pank benda, istetoviran čitavom galeri- terrier taken up by its owner, a guitar player and a mem- jom novijih srpskih „ratnih heroja“ i svetaca, kao boksera ber of a popular punk band, covered with an entire gal- sprema za borbu. Mutiran i bolno pojačan zvuk u kom- lery of tattoos representing new Serbian »war heroes« binaciji sa slowmotion slikom koja u krupnom kadru and saints. Mutated and painfully amplified sound com- prikazuje zastrašujuću njušku psa, stvara napetu i nepri- bined with this slow motion picture showing up close jatnu atmosferu. Prizor je sa druge strane toliko vizuelno the frightening snout of the dog creates tension and un- jak da posmatrača tokom čitavog trajanja rada bukvalno pleasant atmosphere. On the other hand, this picture is drži prikovanog za mesto, sa osećajem nelagode i straha. so intense visually that it literally hammers down the Ovaj naizgled bezazlen ali surov i agresivan prizor u ma- observer to his seat, overwhelming him or her with feel- šti posmatrača otvara prostor za razna učitavanja i suo- ings of unease and fear. This seemingly harmless but čavanja sa sopstvenim strahovima. On je u isto vreme i cruel and aggressive image excites the viewer’s imagina- paradigmatičan primer našeg društva prepunog kontra- tion creating room for all kinds of readings and confron- sta, spajanja nespojivog i iznad svega okrenutog samom tations with ones own fears. At the same time this image sebi, bez imalo osećaja za patnje drugih. functions as a paradigm of our society’s contrasts, am- bivalences and self involvement, and the lack of empathy Saša Janjić for the sufferings of others.

Saša Janjić

Nenad Glišić Nenad Glišić

Rođen 1971. u Beogradu. 1990. završio Likovnu Akademiju u Beogradu. Born in 1971. in Belgrade. 1990. Faculty of Fine Arts Belgrade. 1997. Kuns- 1997. u Diseldorfu na Kunstakademie u klasi kod prof. Jannis Kounellis. takademie, Düsseldorf, klass of prof. Jannis Kounellis. 2000. Master class 2000. Master klas prof. Jannis Kounellis. Od 1990. godine redovno izlaže u prof. Jannis Kounellis. From 1990. He is regulary exhibiting in Serbia and Srbji i inostranstvu. abroad.

Izložbe: Exhibitions: 2003. ZMS, Aprilski susreti, SKC galerija, Beograd 2003. ZMS, April meeting, Gallery SKC, Belgrade 2003. 1/9, video instalacija, SKC galerija, Beograd 2003. 1/9, video installation, SKC Gallery, Belgrade, Serbia 2004. Dobar pogled, video instalacija, 45. Oktobarski salon, Beograd 2004. Video Installation Dobar pogled, 45. October Salon Belgrade 2005. Međunarodni festival novih medija MAF05, Bankok, Tajland 2005. International festival of new media MAF05, Bangkok, Thailand 2005. Real Presence – 5th međunarodna radionica, 51 Bijenale u Veneciji, 2005. Real Presence – 5th International workshop, 51 Bienalle di Venezia, Italija Italy

Kontakt: [email protected] Contact: [email protected] 160

Prezentacija projekata sa konkursa 2007 veljko zejak 15.11 –19.11

Ovaj video je nastao kao neka vrsta propagandnog ma- This video has appeared like some kind of propaganda terijala za moj patent Sex machine. Ideja sex mašine uze- material for my Sex machine patent. The idea of sex ma- ta je kao osvrt na izmanipulisanu seksualnost današnjeg chine has been taken like a review on manipulated sexu- čoveka, njegove fetiše i ulenjenost u komforu. Napravio ality of today’s man, his fetishes and his laziness in com- sam jedan umanjeni simulakrum porno filma u kom su fort. I have made a reduced simulacrum of porno movie, akteri lutke, a mašina dinamični element cele akcije. Ma- with dolls like actors, and machine like dynamic element šina je projektovana kao krevet koji se sastoji iz dva dela of whole action. This machine is constructed like a bed čiji je jedan deo statičan, a drugi se pokreće putem elek- composed by two components, one part is static, while tromotora. Na taj način praveći jednu situaciju u kojoj sve the other is set in motion by electro – motor. Making a što treba da se preduzme je da se udobno smesti u kre- situation in which all that needs to be done is to comfort- vet i uključi mašina, koja će omogućiti zadovoljenje ba- ably accommodate into bed and turn on machine, which zičnog čovekovog nagona. Tako je brutalno prikazana enables satisfaction of basic human’s instinct. Tendency tendencija savremenog čoveka za komfornošću, kao i of modern man for comfort is shown brutally, also the dekadencija društva pretrpanog porno sadržajima. Ovaj decadent society overcrowded by porno contents. This video rad otvara pitanje telesnosti u tehnološkom druš- video is opening the question of body in a technological tvu, prikazujući jednu novu situaciju mehanizovane sek- society, performing one new situation of mechanical sualnosti, u kojoj se čovek javlja kao pasivni objekat i sexuality appearing man like passive object and ma- mašina koja omogućava dinamičan odnos između dva chine, that provides dynamic relation between two indif- indiferentna tela. ferent bodies.

Veljko Zejak Veljko Zejak Born in Postojni, SLO 1980. 2005. graduated from Faculty of Fine Arts, Bel- Rođen u Postojni, SLO 1980. 2005. diplomirao na Fakultetu likovnih umet- grade / Sculpture department. Student of the Master studies, sculptural nosri u Beogradu, odsek skulptura. Student je postdiplomskih studija na department, class of Professor Mrđan Bajić at the Faculty of Fine Arts, Bel- istom faklutetu kod Prof. Mrđana Bajića. grade.

Samostalne izložbe: Solo exhibitions: 2007. Nucleus, Gallery O3one, Belgrade 2007. Nucleus, Gallery O3one, Belgrade 2006. Reljef I - grafika u glini, SKC galerija, Beograd 2006. Relief and graphics in clay, Youth Cultural Center Gallery, Belgrade

Grupne izložbe: Group exhibitions: 2007. KURZFILME AUS BELGRAD, Kommunales Kino, Freiburg 2007. KURZFILME AUS BELGRAD, Kommunales Kino, Freiburg 2007. Niš Art Foundation, Niš, Beograd, Novi Sad 2007. Niš Art Foundation, Niš, Beograd, Novi Sad 2006. Device Art, Zagreb, Beograde, San Francisco 2006. Device Art, Zagreb, Belgrade, San Francisco

Kontakt: [email protected] Contact: [email protected] 162

Prezentacija projekata sa konkursa 2007 ana lozica 21.11 –23.11

„Jebeno” je multimedijalni projekt Ane Lozice, koji se sa- ‘’Fuckin’ a!’’ is a multimedia project from the young stoji od publikacije i prezentacije stvarnog časopisa u Croatian artist Ana Lozica, consisting of the publishing kojem je ona jedini protagonista. Rad performativnog i and presentation of the actual magazine in which she is prezentacijskog karaktera, ironizuje konzumerizam trivi- the only protagonist. The work with performance and jalnih sadržaja i opšteprihvaćene modele prezentacije presentation character is ironical towards the consumer- instant zvezda u popularnim časopisima. Na duhovit i ism of trivial contents and the generally accepted pres- nadahnuto satiričan način, u prvom licu simulira i trivija- entation models of instant stars in popular magazines. In lizuje životne situacije u kojima se nalaze medijski ekspo- the first person, in a witty and inspiring satiric way, it nirane osobe. simulates and trivialises the life situations encountered by celebrities exposed in the media. „Biti dio tabloida san je svake prosječne žene u zapad- “Being a part of a tabloid magazine is a dream of every nom svijetu. Koristeći originalne tekstove iz tabloida i average woman living in the western world. Using origi- kombinirajući ih sa svojim „obiteljskim“ fotografijama nal texts from tabloids and mixing them with my ‘family’ moj san, san prosječne žene se ostvario. Iz perspektive photos my dream, an average woman dream came true. umjetnice, časopis Jebeno! predstavljam kao doživljaj From my perspective as an artist, I present the magazine komercijaliziranog svijeta, tračeva i nepotrebnih informa- Fuckin a! as an experience of a commercialised world, a cija kojima smo zasipani iz svih mogućih medija, a najo- world of gossip and unnecessary information we’ve been čitije se izražava u tiskanim tabloidima.” bombarded continuously through different media. This phenomenon is mostly expressed in the written media, especially tabloid newspapers.”

Ana Lozica Ana Lozica Ana Lozica je rođena 1980. Diplomirala na Akademiji likovnih umetnosti u Zagrebu. Pohađala je postdiplomske studije na Akademiji likovnih Ana Lozica was born in 1980. Graduated from the Academy of Visual Arts in umetnosti u Ljubljani, odsek grafika. Živi i radi u Zagrebu, HR. Zagreb. She attends post-graduate studies at the Academy of Visual Arts in Ljubljana, Department of Graphics. Ana is based in Zagreb, CRO. Kontakt: [email protected] Contact: [email protected] 164

lutke 26.11 –14.12 kristina pantelić

Na samostalnoj izložbi u galeriji Remont mlada umetnica, Kristina Pantelić (1982) izložila je seriju objekata pod nazi- vom „Lutke”. Podstaknuta problemima svoje generacije i vremena u kome živimo autorka je napravila opus radova koji na neposredan i jasan način komuniciraju sa posma- tračem. Razradom ideje i traženjem najadekvatnijeg izra- žajnog medija Kristina je uspela da sačuva svežinu podsti- cajnog impulsa kojima odiše serija nastalih objekata.

Instalacije „Lutke” se sastoje od elemenata koji svaki za sebe nosi sopstvene asocijativne moći. Tapete – šareni, nepostojani, promenjljivi mizanscen savremenog življe- nja, goblenski ramovi – prenaglašeno i pompezno slav- ljenje sumnjivih vrednosti i same modne lutke (u čije fotografije gledamo kao u sopstveni odraz u ogledalu) koje plastičnošću i prazninom ceo doživljaj fokusiraju na problematizovanu temu uniformnosti identiteta. Sreć- nim sažimanjem pojedinačnih elemenata u promišljenu vizuelnu celinu Kristina je prevazišla zamku banalne aso- cijativnosti i stvorila umetnost u kojoj uživamo i prona- lazimo sebe.

Marija Radoš

Kristina Pantelić

Rođena 1982. god. u Beogradu. Diplomirala slikarstvo na Akademiji umetnosti u Novom Sadu 2005. god.

Samostalne izložbe: 2007. Muzej Vojvodine, Novi Sad 2006. Galerija Da, Novi Sad 2006. Vukova zadužbina, Beograd

Grupne izložbe: 2008. Kolekcija Telenor, Paviljon Cvijeta Zuzorić, Beograd

Kontakt: [email protected] 166

DOLLS 26.11 –14.12 kristina pantelić

On her solo exhibition at Remont gallery young artist Kristina Pantelić (1982) showed a serie of objects named “Dolls”. Roused by problems of her generation and the time we are living the author made a series of works that directly and clearly communicate with the viewer. Elabo- rating the idea and seeking for the most adequate media to express it she succeeded in maintaining the freshness of initiate impulse her works reflects.

Installations named “Dolls” consist of different elements and every separate element has its own associative pow- er. Wallpapers – colorful, transient, movable scenery of contemporary lifestyle, golden tapestry frames – over- emphasized theatrical celebration of the fashion doll questionable values ( whose photographs we see as our own reflections in the mirror) whose plasticity and emp- tiness succeeds to focus the whole experience on de- bated subject of uniformed identity. By fortunate fusing of separate elements into highly conceptual visual en- semble Kristina manages to go beyond the trivial asso- ciations and make art we enjoy in, recognizing ourselves within.

Marija Radoš

Kristina Pantelić

Born in Belgrade in 1982. Graduated painting from Academy of Arts, Novi Sad in 2005.

Solo exhibitions: 2007. Museum of Vojvodina, Novi Sad 2006. Yes Gallery, Novi Sad 2006. Vuk’s Endowment, Belgrade

Group exhibition: 2008. Telenor Collection, Pavillion Cvijeta Zuzorić

Contact: [email protected] 168

gradski prizori 17.12 –31.12 novogodišnja prodajna izložba

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Remont+ #

172 Remont+ 07 REMONT OUTSIDE 2007

Osim galerijske delatnosti, REMONT nezavisna umetnička Every year, in addition to its gallery-based activities, the asocijacija svake godine realizuje projekte van galerijskog Independent Art Association REMONT realizes projects prostora. Ove godine ostvarili smo izložbu SupermAR- that step outside of the gallery space. This year we orga- Tket u supermarketu u Višnjićevoj ulici, a u okviru mani- nized the exhibition called SupermARTket, based in the festacije Noć muzeja u lokalima tržnog centra na Trgu supermarket in Visnjiceva Street, and, as part of the man- Republike izložbu „Kućni duhovi staklenca“. Održavajući ifestation called Museum Night, there was a display of kontinuitet saradnje sa inostranstvom, na Dokumentima works throughout shops in the shopping mall on the 12 u Kaselu smo predstavili Remont Art Magazin, a u po- Republic Square, called “The Poltergeists of shopping sebnom delu programa Štajerske jeseni u Gracu, koji je maul Staklenac“. Keeping up the continuity of interna- nosio naziv „next _ code: love“, učestvovali su beogradski tional cooperation, we presented the Remont Art Maga- umetnici Isidora Fićović i Aleksandar Jestrović, Milica Mi- zine at Documenta 12 in Kassel, and in a special section lićević i Milan Bosnić. Jedna od značajnijih delatnosti u of Steirischer Herbst in Graz, which bore the title “next _ 2007. godini bila je priprema i osmišljavanje kolekcije code: love“, some Belgrade artists took part: Isidora TELENOR koja je javnosti predstavljena 2008. Ficovic, Aleksandar Jestrovic, Milica Milicevic and Milan Bosnic. One of the most important activities in 2007 was the conception and preparation of the collection TELE- NOR, which was presented to the public in 2008.

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KUĆNI DUHOVI STAKLENCA 19. 05.

Verovanje da podzemni tokovi voda i magnetskih talasa razni jurodivi tipovi, oni koji nisu mogli ni želeli da se odlučujuće utiču na sudbinu nekog mesta, svih građevi- uklope u duh grada koji je tek krajem devetnaestog veka na koje na njemu bivaju podignute i na sve ljude koji u izgubio svoja preovlađujuće militaristička obeležja. Da li tim prostorima žive ili tu dolaze nije više tako usamljeno: mislite da je slučajno što su svi karnevalski elementi pro- drevno umeće rašljara na kraju dvadesetog veka i počet- testa sa kraja devedesetih nastali na ovom delu trga, u kom trećeg milenijuma doživljava renesansu – i ljudi od Kolarčevoj? Setite se da su, sa druge strane, u blizini „Če- kojih to nikako ne biste očekivali ne useljavaju se u stan stitoga knjaza“ uglavnom izgovarane političke fraze koje pre no što angažuju stručnjaka da viskom ili spravicom u su ponekad, budimo iskreni, bile i pomalo patetične. Na obliku zmijskog jezika ispita „zračenja“. neki način, senka tog duhovnog horizonta egzistira u prostorima „Staklenca“: u institucije koje su se u njemu Mesto gde je podignut montažni tržni centar u kojem se „primile“ treba ubrojati „Medija centar“ koji je tokom de- nalazi galerija umetničke asocijacije „Remont“, kao i cela vedesetih bio jedan od bastiona otpora, galerije i knjiža- zona centralnog Beograda, bogato je slojevima istorije. re. Naravno, ne treba zaboraviti kockarnice, slot-klubove Ali čini se da u slučaju „Staklenca“ imamo pravo da govo- i kafiće. Sve u duhu Merkura i njegove okretnosti. rimo o naročito velikom ugušćenju tih slojeva. Privremeni objekat je, pre svega, bio zamišljen kao tržni Sudeći po slučajnim nalazima fragmentovanih žrtvenika centar. U njemu preko dana nema vreve karakteristične iz kasnog rimskog perioda na mestu današnjeg Trga Re- za slične asocijacije dućana podignute u centru ili na pri- publike, može se osnovano pretpostaviti da se u vreme lazima gradu. Butici puni garderobe, obuće ili elektronske kada je Singidunum bio sedište legije IV Flavije, na tom opreme posluju sa promenjivim uspehom, obično ne prostoru nalazilo svetilište posvećeno Merkuru, okretnom traju dugo. Kada prođe radno vreme uvek umorni noćni božanstvu koje je bilo zaštitnik svih vrsta umetnosti, za- čuvari obiđu spratove i zaključaju dva ulaza u prizemlju. nata ali i trgovine i, u skladu sa tim, pokrovitelj lopova, što, Izbegavaju da tokom noći tumaraju zapuštenim hodni- videćemo, nije bez značaja za potonju sudbinu mesta. cima ili da ulaze u škripavi lift. Zašto? Zato što veruju u još Pored merkureuma su, obično, postojali i bunari želja gde jednu urbanu legendu koju čuju od svojih prethodnika, su oni koji su verovali da će im Merkur vratiti udvostruče- a koja nipošto nije u neskladu sa „karmom“ mesta. Njihov nu svotu ubacivali bakarne, srebrne i u ređim slučajevima kolega je – ime mu više niko ne pamti – sredinom deve- zlatne novčiće. Novac je, međutim, po pravilu uzimalo desetih, ubrzo nakon što se iz prostorija povukla bankro- sveštenstvo koje se staralo o hramu. Činjenica da je u po- tirana piramidalna štedionica, navodno prijavio da se slednjoj deceniji prošlog veka u „Staklencu“ delovala ve- tokom noći predmeti u izlozima, obično odeća i tehnički oma popularna „Dafiment“ banka svakako osnažuje tezu aparati, preobražavaju u bizarne skulpture. Kako te pro- da su zračenja nekadašnjeg antičkog hrama posvećenog mene nisu u prvi mah uočljive teško je saznati kada su bogu prevare itekako prisutna u temeljima. započele. Tokom nekoliko noći posebna komisija bdela je u „Staklencu“ ali, kao za inat, predmeti u izlozima mirno Današnji trg je u dugom periodu bio slobodan prostor su dremali sve do jutra. Nesrećni čuvar je svoju revnost ispred tvrđave i, samim tim, poprište zanimljivih zbivanja. platio otkazom, uz preporuku za lečenje u instituciji koja Na mestu ispred današnjeg spomenika Knezu Mihailu brine o mentalnom zdravlju stanovništva. Ni posle mno- nalazio se, nakon velike barokne rekonstrukcije, glavni go nagovaranja nije hteo da porekne ono što je napisao ulaz u utvrđenje – Stambol kapija. Središtem trga tekao u izveštaju. Od tada se legenda prenosi na sve koji dolaze je veoma širog i dubok rov. Sa druge strane rova, u pro- da rade kao čuvari, ali, isto tako, ostaje u tom zatvorenom storu koji nije bio okovan bedemom, nalazilo se polje sa krugu. Čini se da su i posle njega drugi čuvari imali prilike kojeg su počinjale prolećne poklade čija se tradicija vre- da vide ove paranormalne fenomene ali su o tome, pou- menom izgubila. Osim toga, u niskom rastinju i zemuni- čeni iskustvom prethodnika, mudro ćutali. cama koje su postojale na zaravni sakupljali su se ljudi čija bi se delatnost mogla oceniti kao subverzivna, razno- Mileta Prodanović

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POLTERGEISTS OF shopping 19. 05. maul “STAKLENAC”

The belief that underground water streams and electro- want to adjust to the spirit of the city, which only by the magnetic waves unquestionably effect the destiny of the end of the 19th century lost its dominant military char- place right above the ground, and of all the buildings acter. Do you consider it just incidental that all the carni- erected at that place and all the people who live there or val-like elements of the 1990’s protests took shape in this come to visit, is becoming rather commonplace nowa- part of the square, in Kolarčeva Street? Let us remember days: the ancient wisdom of expert dowsers from the end that, just on the other side of the square, next to the of the 20th and the beginning of the 21st centuries is going “Reputable Prince“, many political phrases were uttered, through its renaissance – even people from whom you most of which were, frankly speaking, rather pathetic. In would never expect such behaviour refuse to move into some way, the shadow of that spiritual horizon dwells in a new flat unless they previously appoint an expert to the premises of shopping maul “Staklenac”: the institu- examine the level of “radiation“ with the plummet or a tions that have taken roots within it comprise, apart from small gadget in the shape of a snake’s tongue. the galleries and bookshops, the Media Centre, which during the 1990’s represented one of the bastions of po- The location at which a prefabricated shopping centre litical resistance. Of course, one should not overlook the was built and which houses the gallery of the Indepen- gambling-houses, slot-clubs and cafés. All in the spirit of dent Art Association “Remont“, as well as the entire zone Mercury and his dexterity. of central Belgrade, abounds with many layers of history. But it seems that in the case of shopping maul “Staklenac” The temporary construction was primarily conceived as we are talking about a particularly thick group of layers. a shopping centre. It is not however distinguished by a Judging by some accidental findings of a fragmented daytime swarm, characteristic of similar-purpose stores, altar from the late Roman period on the site of today’s built in the centre or in the outskirts of the city. Boutiques Republic Square, it can be reasonably assumed that, at full of clothes, shoes or electronic equipment trade with the time when Singidunum was the seat of IV Flavius’ variable success, and usually do not keep the business legion, the site housed a sanctuary dedicated to Mer- up for too long. At the end of the working hours, the cury, a dexterous deity – the protector of all the arts and employed night guards, tired almost as a rule, take a tour crafts, and commerce, and consequently, the patron of around the building and lock the two entrances on the thieves, which as we shall see, is not without significance ground floor. They tend to avoid walking around the as to the subsequent destiny of the place. Besides the desolate corridors or entering the squeaking lift at night. Mercureum, there were, as a rule, several wishing wells Why? Because they believe in another urban legend, of around. Those who believed that Mercury would restore which they heard from their predecessors, and which is them a doubled sum, threw copper, sliver and, in some in accordance with this place’s “karma”. Their colleague rare cases, gold coins in the wells. But the money was in – whose name no one seems to remember anymore – effect collected by the clergy that took care of the tem- has allegedly reported in the mid 1990’s, soon after a ple. The fact that in the last decade of the previous cen- bankrupted pyramidal saving bank closed down, that tury the shopping maul “Staklenac” has housed the infa- during the night, objects – usually clothes and technical mous “Dafiment“ Bank definitely strengthens the as- apparatuses, displayed in the shop windows in these sumption that the radiation of the ancient temple, dedi- premises, were getting distorted into some bizarre sculp- cated to the god of deception, is no doubt present in the tures. Since those changes were not apparent at first foundations. glance, it is hard to say when they began to take place. A special team was appointed to spend a few nights awake Today’s Republic Square has been for a long while an in the shopping maul “Staklenac”, checking upon the open space in front of a fortress, and accordingly, the windows, but, as if out of spite, the objects were peace- battlefield of many remarkable events. On the site in fully dreaming until the following morning. The unfortu- front of today’s monument to Prince Mihailo, following a nate guard paid for his enthusiasm by being referred to great Baroque reconstruction stood the main entrance an institution for mental health. However, despite many to the fortress – the Stambol Gate. Across the central area attempts of discouragement, he refused to deny what he of the square ran a very wide and deep trench. On the had initially written in his report. Ever since, the legend other side of the trench, in the space that was not be- haunts those who come to work there as night guards, sieged, spread a field, a starting point of the spring car- but remains within the same closed loop system. It seems nival, the tradition of which gradually faded away. Be- that his colleagues had an opportunity to witness those sides, in the low vegetation and the dug-outs, which paranormal phenomena, but, thanks to the experience existed on the plateau, there used to gather those people of their predecessor, they wisely kept quiet about it. whose occupations could be described as subversive, or various odd characters, those who could not or did not Mileta Prodanović

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SupermARTket 10 – 20. 05.

Maxi supermarket, Višnjićeva 10 pitanja koje se javno postavlja. Ovaj izbor je istovremeno bio apel novim kupcima (izbor- posedovanje dela savre- organizacija i produkcija: mene umetnosti kao statusni simbol, pozicioniranje) i REMONT – nezavisna umetnička asocijacija, B.C.A. Mosa- kritika vladajućeg sistema vrednosti. ic i Delta Maxi A supermarket je nesumnjivo javni prostor koga poseću- ju sve društvene kategorije. Autori: U odnosu na kritični porast i promenu opšte svesti u kon- Anica Vučetić / Bojan Cvetković / Duška Stefanović / Go- tekstu nesvesne potrebe za megalomanskom potroš- ran Dimić / Hana Rajković / Aleksandar Jestrović –James- njom zapadnog društva, može se postaviti pitanje zasto din / Miodrag Krkobabić / Maja Josifović / Marko Crnobr- ovo radimo, ili da li je moralno u ovom trenutku umet- nja / Marko Stojanović / Nina Todorović / Ratka Lugumer- nički rad predstavljati kao robu široke potrošnje? ski / Veljko Onjin / Viktor Šekularac / Gabriel Glid / Žana Poliakov / Vladimir Perić / Lana Vasiljević Odgovor je veoma jednostavan. Lokalno tržište umetnič- kih radova kod nas u legalnim tokovima uglavnom ne Ideja o saradnji je stigla od Vojislava Žanetića, direktora postoji. Savremena produkcija je potisnuta na marginu, marketinške agencije Mosaic. Predlog direktora jedne čak je gotovo nema u medijima, pa ni u široj javnosti. marketinške agencije pokrenuo je mnoga razmišljanja o Većina građana, uključujući i one koje načelno interesuje vezi marketinga i savremene umetnosti kod nas. Potreb- savremena kultura, ima neku vrstu otpora ili straha da ni smo jedni drugima ali, niti marketing dovoljno koristi posećuje galerije mada ima potrebu da svoja prebivališta umetničku kreativnost niti umetnici poznaju sredstva i ukrašava reprodukcijama istorijski prepoznatljivih dela. način funkcionisanja marketinga. Suštinski, umetnički proizvod jeste roba a savremena Uključivanje Delta Maxi – ja u projekat omogućilo je da tehnologija omogućava da neki autorski produkti mogu se ideja ostvari. da se realativno jeftino proizvedu u više istovetnih koma- Ova neuobičajena akcija težila je da ukaže na potrebu da, odnosno da im konačna cena bude prihvatljiva ve- poboljšanja životnih uslova vodeći računa i o drugim ćem broju građana. U krajnjoj liniji, fizičko približavanje (kulturnim) potrebama građana. dela publici ima propagandni i edukativni karakter. Na društvenom nivou realizacija projekta takođe je otvo- Ali, činjenica je i da je na međunarodnoj sceni antipotro- rila niz pitanja, poput mogućnosti regulisanja i uspostav- šački pokret sve značajniji, pa postoje i umetnički radovi ljanja tržišta savremenih umetničkih dela u Srbiji ali i koji kritički reaguju na ovaj fenomen ukazujući na potro- ponudila građanima da se osećaju kao građani koji sebi šačku groznicu ali i na obezličavanje ambijenta super- mogu da priušte i nešto više od gole egzistencije. marketa koji drastično liče jedan na drugi, bez obzira u kom se delu sveta nalazili. Suština projekta-akcije SuperArtMarket jeste izložba sa- Koliko god privatno podržavali kritiku nove ideologije vremene srpske umetničke produkcije u supermarketu, zasnovane na konzumerizmu, moramo priznati da se u light boksovima koji prvenstveno služe za reklamiranje naše okruženje još nije razvilo do te tačke. proizvoda, odnosno prostoru koji nije uobičajen za pro- Stoga, možda je ovo bio pravi momenat da se iskoristi mociju umetnosti, ali jeste za promociju robe. Upravo je nezaobilazno nadolazeća žudnja za kupovinom i ponudi pitanje umetničkog dela kao robe koja ima svoju cenu i druga mogućnost: roba koja ne zadovoljava biološke koja u širem smislu jeste namenjena kupcima, jedno od potrebe već intelektualne.

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SupermARTket 10 – 20. 05.

Maxi Supermarket, 10 Višnjićeva Street sion of the works of contemporary art as a status symbol, as positioning) and a critique addressed to the ruling Organization and production: REMONT – the Indepen- value system. dent Art Association, B.C.A. Mosaic and Delta Maxi And, the supermarket is indisputably a public space vis- ited by all social categories. Authors: In relation to a critical growth and a change of the overall Anica Vucetić / Bojan Cvetković / Duška Stefanović / consciousness in the context of the unconscious need Goran Dimić / Hana Rajković / Aleksandar Jestrović for megalomanic consumption of the Western society, –Jamesdin / Miodrag Krkobabić / Maja Josifović / Marko one could pose the question as to why we do this, or Crnobrnja / Marko Stojanović / Nina Todorović / Ratka whether or not it is moral at this moment to present an Lugumerski / Veljko Onjin / Viktor Šekularac / Gabriel Glid artwork as a commodity. / Zana Poliakov / Vladimir Perić / Lana Vasiljević The answer is very simple. In our country, such thing as local art market in its legal form hardly exists at all. The The idea about cooperation came from Vojislav Zanetić, contemporary art production is eclipsed, pushed to the director of the marketing agency Mosaic. The proposal margins and hardly present in the media or among the of a marketing agency director instigated a number of general public. Most citizens, including those who on thoughts about the relationship between marketing and principle show interest for contemporary culture, dem- contemporary art in our country. We need each other onstrate a kind of resistance or fear of visiting galleries, but, neither does marketing make a sufficient use of -ar though they have a need to ornament their households tistic creativity, nor do artists seem to be acquainted with with the reproductions of historically recognizable art- resources and means in which marketing functions. works. Essentially, an artwork is a commodity, and mod- The inclusion of Delta Maxi in the project enabled the ern technology facilitates a relatively cheep production realization of the idea. of some art products, which means that their final price This unusual action aimed at pointing to a need to im- become acceptable to the majority of citizens. Leastwise, prove our life conditions, but not neglecting the other the physical approachment between artworks and the (cultural) needs of the citizens. public has both an advertising and educational charac- On the social level, the realization of the project also ter. opened a number of questions, such as the potential of But the fact is that the international scene is also becom- establishing and legalizing a contemporary art market in ing more and more anti-consumption oriented; there are Serbia, but also offered the citizens a possibility to feel anti-consumption movements and artworks, which aim like citizens, who are able to meet more than mere exis- at criticizing this phenomenon, pointing to the con- tential needs. sumption fever, but also to the standardization of super- The essence of the project-action called SuperArtMarket market spaces that drastically look like one another, no is the exhibition of contemporary Serbian art production matter in which part of the world they are. in the space of a supermarket, in light boxes, which pri- However, although we may tend to secretly support this marily serve to advertise goods – in other words, in the criticism of the new ideology based on consumerism, we space, which is not usually intended for the promotion have to admit that our own environment has not yet of art, but the promotion of goods. One of the major reached that point of development. questions that arise concerns the work of art as a com- For that matter, perhaps this was the right moment to modity, which has its price, and which, in a broader sense profit from the inevitably imminent thirst for shopping is intended for buyers. This selection of works was at the by offering another possibility: commodities that satisfy same time an appeal to new buyers (selection-posses- not biological, but intellectual needs.

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documenata 12 magazine 16.06 – 23.09

Remont Art Magazin je u proteklih 7 godina bio prezen- Over the past 7 years Remont Art Magazine was pre- tovan na brojnim međunarodnim manifestacijama i fe- sented at many international manifestations and festi- stivalima, a svakako najznačajniji događaj u istoriji Re- vals. Certainly the most significant event in the history of mont Art Magazina bilo je učešće na kaselskim Doku- Remont Art Magazine was participation at Documenta mentima. Ovaj obiman projekat započeo je 2005 godine exhibition in Kassel. This huge project began in 2005, dobili smo poziv da učestvujemo u projektu pod nazi- when we received the invitation to participate in the vom “documenata 12 magazine”, planiranom za XII kasel- project called “documenata 12 magazine”, planned for ska Dokumenta. Pored same izložbe kao glavne atrakcije, 12th Kassel Dokumenta. Apart from the exhibition itself Dokumenta XII su ponudila i nekoliko pratećih programa, as the primary attraction, Dokumenta 12 offered several od kojih je projekat “documenata 12 magazine” za nas bio side events, of which “documenata 12 magazine” was najzanimljiviji i najinteresatniji. Kako naša umetnička most attractive and interesting for us. Since our artistic produkcija na žalost nije bila predstavljena na samoj production was unfortunately not represented at the izložbi, posetioci ove sada već kultne izložbe ipak su po- exhibition, visitors of this almost cult exhibition were in sredno preko našeg magazina bili u prilici da dobiju in- position to get information concerning our art scene by formacije o našoj umetničkoj sceni. Documenata 12 ma- means of our Magazine. Documenata 12 magazine is con- gazine je osmišljen sa ciljem povezivanja i umrežavanja ceived with the objective to connect and make a net- najrazličitijih, uglavnom nekomercijalnih umetničkih work of various mostly non-commercial art magazines magazina i publikacija sa svih kontinenata. Kordinatori and publications from all continents. Over the past three projekta su u protekle tri godine pozvale preko 90 ma- years coordinators of the project have summoned over gazina, online i štampanih medija da aktivno uzmu uče- 90 magazines, online and printed media to actively take šća u osmišljavanju programa, platforme i tri publikacije/ part in creating programmes, platforms and three publi- magazina, koje su predstavljene na samoj izložbi u Kase- cations/magazines which were presented at the exhibi- lu. Uz pomoć posebno kreiranog kolektivnog online tion in Kassel. By the means of especially created collec- uredničkog sistema, urednici magazina su imali moguć- tive online editorial system, editors of the magazine were nost da međusobno komuniciraju, šalju tekstove iz svojih able to communicate with each other, to send texts from sredina i na taj način učestvuju i stvaranju 3 publikacije their resident towns and to participate in creation of koje su posetioci mogli da vide u Kaselu, ali i u svim ve- three publications which were available for visitors in ćim svetskim knjižarama. Specifičnost projekta ogleda se Kassel as well as in better equipped bookstores all over i u činjenici da su urednici magazina bili u prilici da pre- the world. The special nature of this project is reflected uzimaju tekstove iz posebno kreirane baze podataka i da in the fact that magazine editors were able to draw texts na taj način doprinose upoznavanju svojih čitalaca o de- from the data base created for this purpose and in that šavanjima iz svih delova sveta. Kako je uglavnom reč o way contribute to enlightening their readers concerning malim redakcijama i nekomercijalnim magazinima, koji activities from all over the world. Since participants of uglavnom nemaju sredstava da isprate događaje koji se this project are mostly non-commercial magazines with dešavaju širom sveta, informacije i tekstovi koji su se na- small editorial staff which are under-equipped to keep lazili u ovoj bazi pomogli su mnogobrojnim magazinima up with most current news from all over the world, infor- da dopune svoj sadržaj i pruže relevantne informacije mation and texts from the data base were invaluable svojim čitaocima. additions to the contents of those magazines, providing Remont Art Magazin je od samog starta uzeo učešće u the relevant information to their readers. ovom zanimljivom programu i sa nekoliko svojih dvoje- Remont Art Magazine was involved in this interesting zičnih izdanja bio predstavljen u Kaselu. Posetioci u Ka- programme from the very beginning and it was present- selu su mogli podrobnije da se upoznaju sa izdanjima ed in Kassel in several of its bilingual editions. Kassel Remont Art Magazina ali i sa situacijom na našom umet- visitors were able to get familiar with Remont Art Maga- ničkoj sceni. U projekat su između ostalog bili uključeni zine editions but also with the situation on our art scene. i neki od najpoznatijih umetničkih magazina kao što su The project included among others some of the most Afterall, Springerin, Vector, Camera Austria, Moscow Art renowned art magazines such as Afterall, Springerin, Magazin, Ramona i mnogi drugi. Poseban kuriozitet Vector, Camera Austria, Moscow Art Magazin, Ramona predstavlja učešće publikacija iz arabskog sveta kao i etc. Special curiosity was participation of the publica- magazina iz Indije, Kine kao i mnogih drugih zemalja koja tions from the Arabic world and magazines from India, su zapadnom svetu prilično nepoznata. China and other countries mostly unknown in the west- ern world.

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“next_code:_love” 10 – 20. 05. Steirische herbst 2007

Štajerska jesen je jedna od najznačajnijih regionalnih Steir Autumn is one of the most important regional manifestacija i ove godine su se po prvi put u zvaničnoj manifestations and this was the first year that Serbian selekciji pojavili i umetnici iz Srbije (Aleksandar Jestrović, artists (Aleksandar Jestrović, Milica Milićević, Isidora Milica Milićević, Isidora Fićović i Milan Bosnić), koje je Fićović i Milan Bosnić), who were previously presented in galerija Remont predstavlja u okviru projekta „next_ the Gallery Remont within the project „next_code:_love“, code:_love“. Posmatrajući Evropu danas, uzimajući u appeared in official selection. obzir njenu prošlost, nailazimo na ekstremno bogat kul- Watching Europe today, considering its past, we come turni prostor, prepun kontrasta, protivurečnosti, ali i nes- across extremely rich cultural space, full of contrasts, am- pojivosti. S tim u vezi, u ovom projektu centralno mesto bivalences and contradictions. Having this in mind, the je posvećeno temi „ljubav“. Pedeset godina “istočno-za- central spot in this project is dedicated to „love“. Fifty padne” konfrotacije – godine “hladnog rata”, stoje u po- years of “East-West” confrontation – years of the Cold zadini preko 500 godina dugog uzajamnog kulturnog War, are in the background of over 500 years of cultural uticaja katoličanstva, pravoslavlja i islama. Pored svih interactions of Catholicism, Orthodoxy and Islam. In spite političkih i istorijskih prepreka, bitaka i ratovanja, prepli- of all political and historical obstacles, battles and wars, tanje kultura ostaje kao jedino neuništivo iskustvo svih cultural interaction is one truly indestructible experience ljudi sa balkanskih prostora. Projekat “next code” posma- of all peoples from Balkans. Project “next code” examines tra zajedno ta tri normativna kompleksa evropske istori- all three normative structures of European history and je i kulture (katoličanstvo, pravoslavlje i islam) i pokušava culture (Catholicism, Orthodoxy and Islam), trying to re- da, učešćem umetnika sa tih prostora (Austrija, Srbija i veal the differences between generations caused by dif- Turska), prikaže generacijama stvorene razlike između ferent historical experiences, by involving artists of this njih, prouzrokovane različitim istorijskim iskustvima. background (Austria, Serbia and Turkey) in the project. Izložba “next_code:_love” se bavi temom ljubavi i njenim Exhibition “next_code:_love” is about love and its various različitim načinima kodiranja u različitim sredinama, nje- ways of coding in different environments, its cultural, noj kulturnoj, socijalnoj, medijskoj pa i političkoj uslov- social, media and political basis. ljenosti. The concept of exhibition is transformation and different Koncept izložbe je transformacija i različito poimanje experiences of the idea of love in different cultures which pojma ljubavi u različitim kulturama koje su istorijski, are historically, geographically and economically related. geografsko i ekonomski povezane. Umetnici su istraživa- Artists explored contemporary visual phenomena with li savremene vizuelne fenomene sa akcentom na umet- the accent on the artistic production of artists who are ničkoj produkciji koja proizilazi iz aktivnog odnosa umet- actively living, working, thinking and creating together in nika koji zajedno žive, rade, promišljaju i stvaraju u jed- a specific environment. The platform for the work was nom specifičnom okruženju. Platforma za rad je bila continuous communication by e-mails that started in the kontinuirana komunikacija putem e-mailova koja je po- end of the year 2006. Artists exchanged works, ideas, čela još krajem 2006. godine, u kojoj su umetnici razme- views and their own thoughts on the subject. Love in this njivali radove, ideje, stavove i svoja razmišljanja na zada- case is not just a feeling or the subject of the exhibition; tu temu. Ljubav u ovom slučaju nije samo osećanje ili it is the driving force of the artists in the process of creat- tema izložbe, ona je snaga koja pokreće umetnike u pro- ing work of art. By choosing couples that create together, cesu nastajanja umetničkog rada. Samim odabirom we intended to emphasise a more intimate and personal umetničkih parova, želeli smo da naglasimo jedan inti- overlook, and also the importance of love as a central mniji i ličniji pogled na ovaj problem, ali i važnost ljubavi feeling in the context of the entire project. By living and kao osnovnog osećanja u kontekstu celog projekta. Ži- working together artists were constantly rethinking and veći i stvarajući zajedno umetnici su u konstantnom pro- re-examining the idea of love, as well as in art and in ev- cesu promišljanja i preispitivanja pojma ljubavi, kako u eryday life. By creating together artists explored mutual umetnosti, tako i u svakodnevnom životu. Stvarajući za- feelings, their own works and the world around them. jedno, umetnici istražuju uzajamna osećanja, sopstveni Each selection, apart from artists who created in site in rad, ali i svet oko sebe. Svaka od selekcija je pored umet- Gleisdorf, included film projections from various epochs nika koji su svoje radove ostvarili na licu mesta u Gleis- (60’s, 80’s, but also recent productions such as “The Land dorfu, uključila i prikazivanje filmova iz različitih epoha of love, truth and freedom” by Milutin Petrovic) that also (60-ete, 80-ete, ali i savremena ostvarenja, „Zemlja ljuba- reflected a change in the concept of love through film vi, istine i slobode“ Milutina Petrovića) koji su sa svoje media as one of the most popular means of today’s ex- strane reflektovali promenu koncepta pojma ljubavi kroz pression. medijum filma kao jednog od najpopularnijih vidova savremenog izražavanja. Curators: Mirjana Peitler, Ovul Durmusoglu and Saša Janjić Kustosi: Mirjana Peitler, Ovul Durmusoglu i Saša Janjić 186

impresum REMONT ART FILES, br. 1 Časopis za promociju savremene umetnosti 2007/08

Izdavač / Publisher: Remont nezavisna umetnička asocijacija Remont Independent Artistic Association Za izdavača / For the Publisher: Darka Radosavljević Urednici / Editors: Saša Janjić, Darka Radosavljević, Miroslav Karić Saradnici / Contributors: Jerko Denegri, Maja Ćirić, Stevan Vuković, Irena Šimić, Jelena Spajić, Marija Radoš, Mirjana Peitler, Ovul Durmusoglu, Mileta Prodanović, Uroš Đurić, Aleksandar Jestrović Jamesdin, Branislav Jakovljević, Danilo Vuksanović, Radovan Popović, Katarina Mitrović Dizajn i prelom / Design & Layout: Olivera Batajić Fotografije / Photos: Remont dokumentacija & umetnici Prevod / Translation: Marina Krstić, Aleksandar Vasiljević, Irena Šimić, Katarina Radović Korerktura / Proofreading: Nataša Bokić Štampa / Printing: Publikum, Beograd Tiraž / Copies: 700 Izdanje / Edition: Beograd 2009.

Adresa / Address: Makedonska 5/II, 11000 Beograd, Srbija Tel: +381 11 3223 406 Fax: +381 11 3344 171 www.remont.net [email protected]

Savet galerije / Gallery Bord: Vladimir Perić, Milica Jovanović i Miroslav Karić

Štampanje kataloga pomogli / Printing of the catalogue suported by: Sekretarijat za kulturu grada Beograda, Ministarstvo kulture Republike Srbije, ERSTE Fondacija Secretariat for Culture City Assembly of Belgrade, Ministry of Culture Republik of Serbia, ERSTE Stiftung

CIP - Каталогизација у публикацији Народна библиотека Србије, Београд

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REMONT art files : časopis za promociju savremene umetnosti / urednici Saša Janjić, Darka Radosavljević, Miroslav Karić. - 2009, br. 1- . - Beograd (Makedonska 5/II) : Remont nezavisna umetnička asocijacija, 2009 - (Beograd : Publikum). - 24 cm

Godišnje. - Tekst uporedo na srpskom i engleskom jeziku. - Je nastavak: Remont art magazin = ISSN 1450-9512 ISSN 1821-0511 = Remont art files COBISS.SR-ID 155011596