DEKODIRANJA
DECODING
Savremena umjetnost Bosne i Hercegovine
Contemporary Art in Bosnia and Herzegovina
NARODNI MUZEJ
CRNE GORE
Organizator | Organizer
Narodni muzej Crne Gore
Novice Cerovića bb, Cetinje
[email protected]
Izdavač | Publisher
Narodni muzej Crne Gore
Za izdavača | For the Publisher
Prof. Pavle Pejović
Kustoski tim | Curatorial Team
Branka Vujanović
Džon Blekvud | Jon Blackwood
Predrag Terzić
Igor Bošnjak
Slobodan Vidović
Koordinacija | Coordination
Ljiljana Zeković
Ana Ivanović
Tekst | Text
Ana Ivanović
Branka Vujanović
Džon Blekvud | Jon Blackwood
Predrag Terzić
Igor Bošnjak
Prevod | Translation
Darja Marija Vuletić
Olivera Kusovac
Branka Vujanović
Korektura | Proofreading
Ana Ivanović
Fotografija | Photography
Privatna arhiva umjetnika | Artists’ private archive
Dizajn i priprema | Design and Prepress
Branka Vujović
Štampa | Print
DPC Podgorica - Grafotisak
Tiraž | Circulation
300
Sadržaj | Contents
Ana Ivanović Uvod
Foreword
4
Branka Vujanović Aspekti umjetničkog djelovanja u naježenoj stvarnosti
Aspects of Art-Working in a Bristling Reality
8
Džon Blekvud | Jon Blackwood
O „performativnosti“ u sarajevskom umjetničkom svijetu
On “Performativity” in the Sarajevo Art World
20
Predrag Terzić Anđeo sa kojim se rvemo
The Angel We Are Wrestling With
64
Igor Bošnjak Savremena umjetnost u kontekstu Trebinja
Contemporary Art in the Context of Trebinje
96
Biografije selektora | Selectors’ biographies
130
Ana Ivanović
Ana Ivanović
Uvod
Foreword
Jedna od prioritetnih misija Narodnog muzeja Crne
Gore odnosi se na međuregionalnu saradnju organizovanjem izložbi na kojima bi se prezentovale aktuelnosti na savremenim likovnim scenama pojedinih zemalja. Ovaj projekat, koji tek treba da zaživi,
započinje izložbom Dekodiranja | Savremena umjetnost Bosne i Hercegovine.
Izložba je koncipirana kao ekspozicija revijalnog
karaktera, fleksibilnog tematskog i medijskog okvira kojom se afirmiše stvaralaštvo umjetnika koji
poslednjih decenija aktivno djeluju na bosanskohercegovačkoj umjetničkoj sceni.
Tri grada – Sarajevo, Banjaluka (RS) i Trebinje (RS) –
uslovno rečeno, veći kulturni centri u kojima se nalaze Akademije likovnih umjetnosti i vodeće institucije kulture u BiH, predstavljaju jezgra za identifikaciju umjetnika i njihovog djelovanja. Ova činjenica nikako nije predstavljala ograničavajuću okolnost u smislu odabira umjetnika s obzirom na to
da je selekcija povjerena uvaženim stručnjacima
iz oblasti likovnih umjetnosti, istorije umjetnosti,
teorije umjetnosti i medija: Branka Vujanović i Džon
Blekvud (za Sarajevo), Igor Bošnjak (za Trebinje, RS),
Slobodan Vidović i Predrag Terzić (za Banjaluku, RS).
Mada su selektori u tekstovima koji slede detaljno
iznijeli objašnjenje svog izbora, neophodno je istaći
da je riječ o međunarodno prepoznatim i priznatim
umjetnicima koji svojim radom posljednjih decenija
stvaraju jednu novu scenu čiji je razvoj privremeno
anesteziran društveno-političkim okolnostima i neusklađenošću kulturne strategije, što je dovelo do
svojevrsne atrofije kolektivne senzitivnosti prema
One of the primary missions of the National Museum of Montenegro refers to inter-regional cooperation through organizing exhibitions which
would present current events on contemporary art
scenes in particular countries. This project, which
has yet to come to life, is now starting with the
exhibition Decoding | Contemporary Art in Bosnia
and Herzegovina.
The exhibition is designed as a display of a reviewable character, with a flexible thematic and media framework which is to promote the creativity
of artists who have been active on the BosnianHerzegovinian art scene during the last decades.
Three cities – Sarajevo, Banjaluka (RS) and Trebinje
(RS) – which are, conditionally speaking, larger
cultural centres in which Academies of Fine Arts
and the leading cultural institutions of Bosnia
and Herzegovina are located, represent nuclei for
identifying the artists and their work. This certainly
was not a limiting factor in terms of the selection
of artists due to the fact that the selection was
entrusted to distinguished experts in the field
of fine arts, art history, theory of art and media:
Branka Vujanovic and Jon Blackwood (for Sarajevo),
Igor Bosnjak (for Trebinje, RS), Slobodan Vidovic
and Predrag Terzic (for Banjaluka, RS). Although the
selectors presented a detailed explanation of their
selections in the texts that follow, it is important to
note that these are internationally recognized and
renowned artists whose work in recent decades
created a new scene whose development was
temporarily anesthetized by socio-political circu-
DEKODIRANJA 4
umjetničkim ostvarenjima i smanjene vidljivosti
sadržaja koji itekako zavrijeđuju da budu prezentovani izvan uskih geografskih okvira. Međutim,
ovo nije usamljeni slučaj u regionu; suočavamo
se sa sve većom fragmentacijom na „mikroscene“
koje pomalo autistično djeluju u svojim lokalnim
okvirima (vrlo često svedenih na grad ili opštinu)
bez pouzdanih „alata“ koji bi napravili sinergiju i
uspostavili jedinstvenu kulturnu platformu s koje
bi bilo moguće poimati određenu scenu u punom
smislu tog značenja i vrednovati je u odnosu na
druge scene regiona. Sledstveno tome, fokus jeste,
i treba da bude, na umjetnicima koji ulažu napor da
se potreba za uvezivanjem reanimira i da se, polako,
ali sigurno dešavaju ne samo razmjene kulturnih
dešavanja, već i da se uspostavi čvršća veza među
umjetnicima i da se svojevrstan hermetičan odnos
prema umjetničkim tendencijama u regionu zamijeni otvorenom interakcijom nekad jedinstvenog
kulturnog prostora.
Publika u Crnoj Gori do sada nije bila u prilici da
na ovakav način percipira bosansko-hercegovačku
savremenu umjetnost (osim putem individualnih
nastupa umjetnika), a budući da na izložbi učestvuje trideset šest referentnih stvaralaca različitih generacija čije umjetničke preokupacije osvjetljavaju
ključne tačke njenog razvoja, ova izložba predstavlja dobar način da se podrži umjetnička produkcija
koja jeste prioritet u savremenom svetu umjetnosti,
a čiji učinak u mnogome zavisi od pravovremeno
pruženih šansi. Stoga, Narodni muzej Crne Gore
ovim putem otvara svoja vrata za prezentaciju jedinstvenog estetskog, umjetničkog, konceptualnog područja rada i djelovanja koje karakteriše visok nivo umjetničke vrijednosti.
Translation by Darja Marija Vuletić ►
mstances and discrepancy in cultural strategy; this
led to a kind of atrophy of collective sensitivity for
artistic creations and reduced visibility of contents
that definitely deserve to be presented outside
their narrow geographical limits. However, this
is not an isolated case in the region; we are faced
with an increasing fragmentation into “microscenes” which act slightly autistic within their local
borders (that are often reduced to a city or municipality); they are without reliable “tools” that
could create synergy and establish a unique cultural platform from which it would be possible to
conceive a particular scene in the full sense of that
meaning and evaluate it in relation to other scenes
of the region. Consequently, the focus is, and should be, on artists that are making efforts to reanimate the need for connecting so that, slowly but
safely, not only the exchange of cultural events
takes place but also a stronger link is established
between artists; a kind of hermetic relationship
towards artistic tendencies in the region is to be
replaced by an open interaction in a cultural space
that once used to be unique.
Up to now, the public in Montenegro has not
been able to perceive Bosnian-Herzegovinian contemporary art in this way (except through individual performances by the artists). Since the exhibition presents thirty six referential artists of different generations whose artistic preoccupations
illuminate the key points of its development, this
exhibition is a good way to support artistic production that is a priority in the contemporary art
world and whose outcome depends largely on the
opportunities provided in a timely manner. Thus,
the National Museum of Montenegro hereby opens
its doors to the presentation of a unique aesthetic,
artistic, conceptual area of work and activity that is
characterized by a high level of artistic value.
DECODING 5
SARAJEVO: Maja Bajević | Saša Bukvić
Gordana Anđelić-Galić | Danica Dakić
Taida Jašarević | Adela Jušić | Šejla Kamerić
Emir Kapetanović | Muhamed Kafedžić
Damir Nikšić | Renata Papišta | Daniel Premec
Jasmina Gavrankapetanović-Redžić
Iva Simčić | Alma Suljević | Nela Hasanbegović
Jusuf Hadžifejzović | Ivan Hrkaš
Branka Vujanović
Branka Vujanović
Aspekti umjetničkog djelovanja
u naježenoj stvarnosti
Aspects of Art-Working
in a Bristling Reality
Porodični portret, Priča o ribi i druge priče
Family Portrait, Story About a Fish, and Other Stories
Jedna velika porodična fotografija snimljena je
na Cetinjskom bijenalu prije 20 godina (1994),
na kojoj su se, prvi put nakon tri godine rata u
Bosni i Hercegovini, okupili članovi porodice i
prijatelji umjetnika Jusufa Hadžifejzovića – ta je
fotografija postala osnova njegovog kontinuiranog
performansa tokom godina koje slijede, enigmatičnog naziva Strah od pitke vode. Strah od pitke vode
ukazuje na individualnu, porodičnu i kolektivnu
traumu razdvajanja i gubitka, na težinu sjećanja
i nemogućnost djelovanja. Umjetnici i umjetnice
koji artikulišu ovo traumatsko jezgro često polaze
od neposrednog iskustva sopstvenih porodica.
Porodični portret kao osnova umjetničkog istraživanja i djelovanja je jedan od upečatljivih aspekata
savremene bosansko-hercegovačke umjetnosti.
On a grand family photograph that was taken at
Cetinje Biennial twenty years ago (1994), members
of the family of Jusuf Hadžifejzović and his friends
gathered for the first time after three years of war
in Bosnia-Herzegovina – and this photograph has
become a basis of his continuous performance
through the years that followed, under the
enigmatic title Fear of Drinking water.
Fear of Drinking Water points to the individual, family and collective trauma of separation and loss, as
well as to the baggage of memories and the inability to act. Artists who are devoted to articulating
this traumatic core often relate it first of all to the
experience of their own families. Family portrait
as a cornerstone of artistic research and practice is
one of the telling aspects of contemporary art in
Bosnia-Herzegovina.
Memory Lane Adele Jušić je djelo koje nastaje
i razvija se u procesu traganja za porodičnim
fotografijama koje su bile izgubljene tokom rata.
Posvećeno je baki koja je ‘uvijek znala kako da
okupi cijelu porodicu’ i ocu koji je izgubio život kao
vojnik u bosansko-hercegovačkoj vojsci. Od video
rada Snajperista (video, 4’9’’, 2007) u kojem se ista
očeva fotografija pojavljuje kao najvažniji lik na
horizontu djetinjeg sjećanja, do video filma Kad
ja umrem radite šta hoćete (video, 19’24’’, 2011) u
kojem unuka iz sjećanja do detalja ponavlja bakinu
priču, porodična istorija je nezamjenjivi rezervoar
SARAJEVO 8
Memory Lane by Adela Jušić is a work in progress
that develops through the process of searching for
the family photographs that have been lost during
the war. It is dedicated to her grandmother who
‘always knew how to gather the whole family’ and
to her father who lost his life as a soldier in BosnianHerzegovinian army. For this artist, family history is
an indispensable reservoir of data, from The Sniper
(video, 4’9’’, 2007) in which the same photograph
of her father appears as the most important figure
on the horizon of childhood memories, to When I
materijala za ovu umjetnicu.
Adela Jušić shvata umjetničko djelovanje (artworking) kao misiju izgradnje nove revolucionarne
subjektivnosti za sebe i za sopstvenu razočaranu
generaciju.
Priča o ribi Nele Hasanbegović sumira sjećanje iz
djetinjstva, u kojem se sudaraju dvije nepomirljive
realnosti: intimna realnost porodične ljubavi u
harmoničnoj atmosferi radosti i društvena realnost
u prijetećoj atmosferi oružanog sukoba. Dok pravi
ribu od papira koja je simbol čežnje za stvarima
koje nedostaju i za normalizacijom svakodnevnog
života, desetogodišnja djevojčica pjevuši pjesmu
„Uvijek nek’ bude sunce“ (May there always be
SUN, Arkady Ostrovsky) koja je obilježila djetinjstva
nekoliko generacija.
Na fotografijama Ivana Hrkaša zabilježena je iz
neposredne blizine dramaturgija intime svakodnevnog porodičnog života. Kroz prikaz jutarnjeg
rituala svojih roditelja, umjetnik projektuje traganje
za sopstvenim identitetom u prostor fotografije,
a intimna veza između fotografa i aktera postaje
takođe intimna veza između posmatrača i autora
koji iskreno izlaže sopstvenu privatnost na vidjelo. Kao poštovatelj fotografkinja Nan Goldin,
Iren Stehli, Sally Mann i Elinor Carucci, Ivan Hrkaš
prihvata voajerističku tendenciju fotografije kao
pozitivno ukidanje distance, kao davanje sebe
drugima kroz druge. Takvo shvatanje fotografije
otvara etičku dimenziju ili dimenziju reartikulacije
etičkog kao svijest da se samoidentifikacija postiže
kroz dijeljenje intime sa drugima.
Otvaranje prostora za samoidentifikaciju kroz artworking1 je jedno od najznačajnijih dostignuća
Die You Can Do What You Want (video, 19’24’’, 2011)
in which the granddaughter narrates from her
memory the family stories that her grandmother
has told her.. Adela Jušić takes her art-working to
be a mission of building a new resistant subjectivity
for herself and her own disi-llusioned generation.
Story About a Fish by Nela Hasanbegović sums up
the childhood memory in which two incommensurable realities collide: the intimate reality of family
love in a harmonious atmosphere of joy, and the
social reality in a threatening atmosphere of the
armed conflict. As she creates a paper fish that
symbolizes the longing for the things that are
being missed, the longing for the normalization of
the everyday life, a ten-year old girl sings the song
“May there always be Sun” (Arkady Ostrovsky) that
marked the childhoods of several generations.
A dramaturgy of everyday family life is captured
from the immediate vicinity on the photographs by
Ivan Hrkaš. Through representation of the morning
ritual of his parents, the artist envelops a search for
his own identity. The intimate relation between
the photographer and his actors turns into the
intimate relation between the observer and the
photographer who exposes his privacy without
hesitation. As an admirer of photography artists
such are Nan Goldin, Iren Stehli, Sally Mann and
Elinor Carucci, Ivan Hrkaš accepts the voyeuristic
tendency of a photographic medium as positive
undoing of the distance, as giving oneself to the
others through the others. Such understanding of
photography opens up an ethical dimension or
rearticulates the ethical in terms of self-identification through shared intimacy.
1 Termin art-working ukazuje na vezu između psihoanalitičkog procSARAJEVO 9
rodne perspektive u polju vizuelnih umjetnosti.
Kustosica i istoričarka umjetnosti Dunja Blažević je
upotrijebila pojam “miraz” koji “simbolično označava
odnos ličnog naslijeđa, onoga što se nosi/iznosi iz
‘kuće’ i onoga što se stiče i oblikuje kao proživljeno
životno iskustvo”.2 Pod tim nazivom organizovana je
izložba čije jezgro čine umjetnice iz Sarajeva: Alma
Suljević, Danica Dakić, Gordana Anđelić-Galić, Maja
Bajević i Šejla Kamerić. Iako govore iz rodne pozicije,
koja je u patrijarhalnoj sredini već sama po sebi
angažovana pozicija, ove umjetnice aktivno djeluju u širem domenu konvergencije etike i estetike.
Razmatrajući konvergenciju etike i estetike u
savremenoj umjetnosti, Griselda Pollock naglašava
da ukoliko “estetski domen posjeduje određena
znanja ili čak subjektivne dispozicije proto-etičkog,
podupire sklonost ka poštovanju, brizi i saosjećanju
sa drugima, onda može uticati i na drugu sferu javne
debate i akcije (…) [E]stetska-proto-etička-etička
putanja prevazilazi postojeće političke programe i
koncepte političkog antagonizma sa potencijalom
da proizvede transformacije u ovoj sferi u vidu novih
usmjerenja, usklađivanja, novih načina zamišljanja i
oslobađanja drugačijih formi težnje za povezanošću
sa životima drugih”.3
Ove umjetnice tragaju za načinima prepoznavanja
i transformacije rodnog i kulturološkog pozicioniesa i estetskog procesa, vezujući se za pojmove dreamwork i workingtrough Sigmunda Freuda i značenje «rada» kao procesa koji zahtijeva
vrijeme i otvoren prostor za susret, za nepredvidljivost. O pojmu artworking vidjeti: Griselda Pollock (2011), «A Matrixial Installation: Artworking in the Freu-dian Space of Memory and Migration», in: Art as
Compassion: Bracha L. Ettinger, ed. By Catherine de Zegher, M. Catherine
de Zegher, Griselda Pollock, Asp/Vubpress/Upa, str. 191-201
2 Dunja Blažević (2012), Miraz, kat. izložbe (Ljubljana-Trst-Beograd-Zagreb-Sarajevo), SCCA-Centar za savremenu umjetnosti Sarajevo, str. 9.
3 Griselda Pollock (2012), «Unexpected Turns: The Aesthetic, the Pathetic and the Adversarial in the Long Durée of Art’s Histories» in: Journal of Art Historiography No. 7, dostupan na
http://arthistoriography.wordpress.com/7-dec2012/
SARAJEVO 10
Opening up a space for self-identification through
art-working1 is one of the major achievements of
gender perspective in the field of visual art. Curator and art historian Dunja Blažević employed the
notion of “dowry” (miraz) that “symbolically denotes
the relationship between personal heritage, all the
properties inherited and handed down through
the family, and those acquired and shaped through
our own experience of life”2. Under this title she
curated the exhibition as an integral part of the
project “Women’s heritage: Contribution to Equality
in Culture” (2011-2012). The core of the exhibition
consisted of the works by Sarajevo women artists:
Alma Suljević, Danica Dakić, Gordana AndjelićGalić, Maja Bajević, Šejla Kamerić. These artists
are speaking from gender perspective, which is
by itself an engaged perspective in a strongly
patriarchal environment, but their practices entail
a wider field of convergence of ethics and aesthetics. Griselda Pollock writes about the convergence of ethical and aesthetical domain: “if the
aesthetical domain has within it some useful
knowledge or even subjective dispositions that
being proto-ethical, foster inclinations towards
respect, care and compassion for the other, [it] can
subseque-ntly enter into and transform another
sphere of public debate and action.
[…] [A]esthetical-proto-ethical-ethical trajectory
transgresses existing political agendas and even
1 The term art-working points to a specific overlay and interweaveof
psychoanalytic process and aesthetic process. This term is affiliated
to Sigmund Freud’s dreamwork, or working through, that is hisuse of
“work” to insist on the economy of psychologicalworking-through,
which takes times and needs the openspace of encounter to occur,
unpredictably. See: Griselda Pollock (2011), «A Matrixial Installation:
Artworking in the Freudian Space of Memory and Migration», in: Art
as Compassion: Bracha L. Ettinger, ed. By Catherine de Zegher, M. Catherine de Zegher, Griselda Pollock, Asp/Vubpress/Upa, pp. 191-201
2 Dunja Blažević (2012), Miraz, exhib. cat.(Ljubljana-Trst-Beograd-Zagreb-Sarajevo), SCCA-Centar za savremenu umjetnosti Sarajevo, p. 10
ranja (Šejla Kamerić) i odnosa prema radu i zajednici
(Danica Dakić); kritikuju protokole “normalizacije”
u svijetu umjetnosti i načinima života (Maja Bajević); istražuju traumatične međuzone koje
presi-jecijaju političke teritorije: Alma Suljević je
aktivno učestvovala u deminiranju minskih polja i
razvila dugogodišnji projekat mapiranja ovih zona.
U video radu Demokratija Gordana Anđelić-Galić
dotiče problem samo-artikulacije u kontekstu ‘postsocijalističke’ tranzicije. Umjetnica pokušava da
govori ispod površine vode i jedva razumljive riječi
formulišu definiciju demokratije u kojoj je sadržana hipokritička dimenzija procesa demokratizacije. Voda ima važno simboličko prisustvo i u drugim njenim djelima, kao što je performans pranja
zastava Bosne i Hercegovine u politički i ethnički
podijeljenom Mostaru ili akcija ušivanja obala
rijeke Neretve – rijeka kao rana; voda je simbol
stanja ranjivosti. Niz konceptualno povezanih djela
koja su istovremeno intimna i angažovana bave se
individualnim i kolektivnim identitetima, kulturnom
traumom, segregacijom i reinvencijom istorije.
New Past, No Heroes
U novoj konstelaciji raspodjele moći, sudara različitih režima kontrole života, neokonzervativizma i
novih formi kulturne kolonizacije, od 1990-ih nadalje, umjetničko djelovanje postaje jedan od bitnih aparata verifikacije diskurzivnih strategija i
protokola koji određuju šta je poželjno misliti, a šta
je izvan dometa mišljenja. Kao aparat verifikacije,
umjetnost nije deskriptivna nego preskriptivna,
upućuje na tehnike za postizanje dobrobiti pojedinca. Damir Nikšić u tom smislu definiše umjetničko djelovanje kao “sistem melioracije”: poboljšanje
karakteristika tla koje omogućuje stabilan razvoj
kultura.
concepts of the agonistically political with potentials that can produce transformations in this sphere
in the form of reorientations, new attunements
and above all new ways of imagining and releasing
other forms of desire or yearning for connectivity
and for the life of the other.”3
These artists are searching for the ways to recognize and transform the established gender and
cultural positioning (Šejla Kamerić), the common
understanding of work and togetherness (Danica
Dakić), to criticize the protocols of “normalization”
in the world of art and in the ways of life (Maja
Bajević), as well as to map out the traumatic inter/
border spaces that traverse the political territories:
Alma Suljević has been actively involved in the
actions of demining the minefields. In her video
work Democracy Gordana Andjelić-Galić addresses the problem of self-articulation in the context
of ‘post-socialist’ transition. The artist is trying to
speak below the surface of the water and her barely
understandable words formulate a definition of
democracy that entails its hypocritical dimension.
The water has an important symbolical presence
in other works by Gordana Andjelic-Galic, such as
the performance of washing the flags of BosniaHerzegovina in politically and ethnically divided
city of Mostar or the action of sewing the shores
across the river Neretva – the river as a wound, the
water is a symbol for the state of vulnerability. These
series of conceptually interconnected works, both
intimate and engaging, investigate individual and
collective identities, cultural trauma, segregation
and reinvention of history.
3 Griselda Pollock (2012), «Unexpected Turns: The Aesthetic, the Pathetic and the Adversarial in the Long Durée of Art’s Histories» in: Journal of Art Historiography No. 7, available at
http://arthistoriography.wordpress.com/7-dec2012/
SARAJEVO 11
Umjetnikova preporuka je relaksacija svakodnevnog života, analitičko posmatranje okruženja,
ispitivanje svakodnevne interakcije i stvari koje
uzimamo “zdravo-za-gotovo”.
Umjesto etno-nacionalne higijene propagira mentalnu higijenu i brigu o kulturnom pejzažu.
Jedan od osnovnih problema koje uočava naročito u
Bosni i Hercegovini zbog njenog specifičnog položaja i kulturološkog profila, jeste nedostatak adekvatne istorijske svijesti. Ovaj nedostatak se nadomješta kreiranjem ideoloških mitova i proizvoljnim
ad hoc interpretacijama prošlosti. Nepostojanje
istorijske svijesti je tema njegove serije instalacija
Istorijsko slikarstvo – tradicija nepostojanja. U svojoj
bosansko-hercegovačkoj verziji ova serija čuva
prazna mjesta na zidu za nepostojeće slike koje bi
prikazivale istorijske događaje kao što su Krunisanje
kralja Tvrtka I Kotromanića za kralja Bosne ili dolazak bogumilskih sveštenika u Bosnu.
Crnogorska verzija je dopunjena predstavom Marksa u Njegoševoj odori, ukazujući na savremenost
ova dva mislioca: „Gorski vijenac” je napisan na
Cetinju 1846. godine i štampan u Beču godinu dana
kasnije, a prvo izdanje Komunističkog manifesta
pojavilo se 1848. godine. Damir Nikšić objašnjava da u vrijeme dominacije Otomanskog carstva
na ovim prostorima, lokalni muslimani-poturice
predstavljaju proletersku klasu: Kolonijalna sila i
imperija predstavlja se kao oslobodi­lac i borac za
interese proletera u njihovoj klasnoj borbi protiv
vladarske kaste ili dinastije koja s druge strane
prepoznaje taj proletarijat kao izdajnika proto-naci­
onalnih interesa i identiteta, proletarijat koji vo-đen
sopstvenim interesom pro­daje svoju lojalnost interesu
drugog, druge vlasti, drugog vođe, drugog sistema,
SARAJEVO 12
New Past, No Heroes
In a new constellation of power distribution, in
a collision of different regimes of life control,
neoconservativism and new forms of colonization,
since the 1990s onwards, art-working becomes
one of the important apparatuses of verification of
discursive strategies and protocols that determine
what is appropriate to think and what is not.
As an apparatus of verification, art-working is
not descriptive but prescriptive, pointing to the
technics through which one is able to achieve his/
her well-being. In this sense, Damir Nikšić defines
art-working as a “system of melioration”: improving the characteristics of the soil to ensure the
stable growth of the cultures. The artist suggests
a relaxation of everyday life, analytical observation
of the surrounding, the questioning of everyday interaction and things we take for granted.
Instead of ethno-national hygiene, he propagates
the mental hygiene, and taking care of cultural
landscape.
One of the main problems he observes, particularly
in Bosnia-Herzegovina due to its specific position
and cultural profile, is an absence of adequate
historical consciousness. This absence is then being
compensated through the creation of ideological
myths and ad hoc interpretation of the past. The
absence of historical consciousness is a topic of his
series of installation Historical painting – history of
non-existence. In its Bosnian-Herzegovinian version,
this installation keeps the empty spaces on the wall
for non-existing paintings that would capture the
important historical events, such are the Crowning
of the King Tvrtko I Kotromanic for the king of
Bosnia or the Arrival of Bogumil Priests in Bosnia.
The Montenegrin version entails a collage prese-
drugoj ideologiji – i tu počinje generiranje protonacionalne ideologije i moral­nih stavova koje Njegoš
kasnije, u 19. vijeku, vijeku stvaranja nacija država
i kao Marksov savremenik, nastoji ispregovarati
filozofski i pjesnički.
Damir Nikšić njeguje istorijski utemljen agit-pop
pristup kada uspostavlja direktnu vezu između
socijalističkog ideala i unikatnog modela Bosne i
Hercegovine. Serije slika Bosanska teologija oslobođenja i Imami socijalizma umjesto vjerske ostrašćenosti i veličanja etno-nacionalnih heroja, propagiraju principe socijalnih sloboda i zajedništva.
Društveni pokreti širom svijeta, od 1990-ih naovamo, pronose ove principe pod imenom globalización desde abajo (globalizacija odozdo). Za
razliku od relativističke vizije globalnog konsenzusa
koji ukida razliku između političke ljevice i desnice,
globalización desde abajo insistira na dubljem
kritičkom ispitivanju geneologije kolonijalizma i
svih njegovih aspekata, prošlih i sadašnjih.
U tom procesu, koji podrazumijeva i izgradnju
kolektivnih vrijednosti i novih autonomnih formi
suprotstavljanja i destabilizacije kapitalističke moći, odvija se redefinicija odnosa estetike i politike
i kritička samorefleksija o poziciji umjetnosti u
okvirima neoliberalne vizije svijeta “nakon politike
i nakon ideologije”. Takva samorefleksija predstavlja
interpretativni okvir ciklusa Think left Ive Simčić.
Think left je kompleksan rad iz nekoliko segmenata.
Serija crteža/kolaža bazirana je na sekvencama iz
Western filmova, ali sa praznim mjestima za heroje
koji nedostaju. Čvrsta narativna struktura ovog
žanra utemeljena je na konfrontaciji jakih i slabih
i na mitologizaciji individualnog heroja-otpadnika
koji zauzima poziciju odbrane kolektivnog tijela
zajednice nasuprot isto tako individualiziranih
nting Karl Marx in the garments of Petar II Petrović
Njegoš. “Gorski vijenac” (The Mountain Wreath) was
written by Njegoš 1846 in Cetinje and printed in Wien a year later, while the first edition of “Communist
Manifesto” appeared in 1848. Damir Nikšić explains
that at the times of Ottoman domination in this
region, the local people who converted to Islam (so
called “poturice”/”Turkicized”) should be regarded
as a proletarian class: Colonial and imperial power
introduces itself as the freedom-bringer and the
fighter for the rights of the proletarians in their class
struggle against the ruling class or dynasty, which,
on the other hand, recognizes this proletarian class
as a traitor of proto-national interests and identities,
the proletarian class following its own interests and
selling out the loyalty to the other power, other leader,
other system, other ideology – and here is where the
production of proto-national ideology and its moral attitudes starts, which Njegoš, a contemporary
of Marx, will try to negotiate philosophically and
poetically, later in the 19th century, the century of
nations’ creation.
Damir Nikšić cherishes a historically grounded agitpop approach when he is establishing a relation
between the socialist ideal and the unique model
of Bosnia-Herzegovina. The series of paintings titled
“Bosnian Theology of Liberation” and “Imams of
Socialism” do not propagate religious enthusiasm
or ethno-national heroism, but are rooting for the
principles of social liberty and communitarianism.
Social movements all over the world since the
1990s carry these principles under the name of
globalización desde abajo (globalization from down
under). Contrary to the relativist vision of a global
consensus that cancels the distinction between
the political left and right, globalización desde abajo
insists upon a deeper critical questioning of a
SARAJEVO 13
predstavnika zla i korupcije.
Kroz vizuelnu fragmentaciju narativne strukture,
Think Left ostavlja ovu konfrontaciju bez razrješenja. Drugi dio ciklusa je skulptura nastala od gipsanog kalupa skinutog sa slomljene lijeve noge i
preoblikovanog u kaubojsku čizmu. To je metafora
za poziciju nove ljevice koja pokušava da se artikuliše
u neoliberalnim relativističkim političkim okvirima.
Treći dio ciklusa je esej Destabilizacija jezika –
Politička prednost umjetnosti (Destabilization of
Language – the Political Asset of Art) pretvoren
u vizuelni estetizovani objekat-print. Iva Simčić
naglašava tenziju između direktne političke konotacije i (ne)razumljivosti poruke koja se prenosi
putem umjetnosti.
U seriji crteža New Past Jasmina Gavrankapetanović-Redžić se bavi problemom reprezentacije
prošlosti koja teži da fiksira određene prostornovremenske koordinate, hijerarhiju značenja i uloga
u cjelovitost narativa. Crteži iz serije New Past
rastaču svaku moguću hijerarhiju u floralnu mustru,
a ono što je nekad bilo cjelovitost se razbija u niz
ponavljanih fragmenata. Kroz mustru se pojavljuje
multipliciran prepoznatljivi herojski stav narodnog
heroja Stjepana Filipovića sa omčom oko vrata
neposredno pred egzekuciju 1942. godine. Sa nizom
tenkova čije cijevi formiraju dijagonalu nasuprot
prikazu heroja, ovaj rad je i referenca na Gojin
(Francisco de Goya) čuveni prikaz “3. maj 1808”.
Ciklus History re-painting Muhameda Kafedžića Muhe se izdvaja po tome što tretira istoriju umjetnosti
i slikarskih tehnika kao temu samu po sebi, mada
neizbježno konotira kontekstualne okvire različitih
epoha i kultura. Poster Boy – Mladi samuraj flautista
jasno referira na Flautistu Eduarda Manea (Edouard
Manet) i čak je identičnih dimenzija, ali istovremeno
SARAJEVO 14
genealogy of colonialism in all its aspects, past and
present.
The relation between aesthetics and politics is being redefined in that process that alsofosters collective values and new autonomous forms of
resistance and destabilization of capitalist power,
as well as critical reflection on the artistic position
within a “world after politics and after ideology”.
Such self-reflection is an interpretative frame of
the cycle Think Left by Iva Simčić. Think Left consists of several segments. The series of drawing/
collages is based on the Western film stills but
with the empty spaces for the missing heroes.
Western genre is structured around the opposition
between the week and the powerful and around
the myth of a hero-outsider who takes up the
position of defending a collective body against
equally individualized representati-ves of evil and
corruption. Think Left is a visual fra-gmentation
of such strong narrative structure and leaves it
without a resolution of conflict. The second part of
the cycle is the sculpture made out of the medical
cast, taken from a left injured leg and reshaped into
a cowboy booth. It is a metaphor of the position of
the new political left that is trying to articulate itself
within neoliberal relativist political framework.
The third part of the cycle is the four pages essay
Destabilization of Language – the Political Asset of
Art, turned into an aesthetic visual object-print. Iva
Simčić emphasizes the tension between a direct
political connotation and the (in)comprehensibility
of the message transmitted through art.
In the series titled New Past Jasmina Gavrankapetanović-Redžić tackles a problem of the representation of the past as a coherent narrative whole
in which we are confronted with certain spatial
zadržava osobenosti japanske grafičke umjetnosti.
Muhamed Kafedžić pronalazi univerzalnu vrijednost japanskog Ukiyo-e pogleda na svijet (slike
lelujajućeg svijeta) i istražuje procese prevođenja
između različitih era i tradicija, i naročito između
različitih medija, od japanskih drvoreza i klasičnog slikarstva do modernog grafičkog dizajna,
stripova i street arta. Njegove predimenzionirane
slike i masivni ulični murali pokazuju mogućnosti
kreativnog procesa prevođenja i transformacije.
We Are All Made of Stars
U instalaciji Sky / We are all made of stars Taida
Jašarević istražuje pitanje identiteta kroz procese
transformacije grafičke slike, kao i u drugim ciklusima Voda i Iznad površine. Ovaj odnos između slike
i identiteta je preveden u odnos između tehnike
i materijala: tehnike dubokog tiska i prozračnosti japanskog papira koji je ručno bojen plavim
pigmentom. U svom istraživanju koristi koncept
„re-medijacije” kao mogućnost re-kreiranja jednog
medija kroz druge medije, na primjer: mogućnost
re-kreiranja digitalnih slika kroz tehnike fotogravure i dubokog tiska ili postizanje efekta digitalne
slike kroz klasične tehnike grafike.
Renata Papišta se, takođe, kroz istraživanje statusa
grafičke slike u savremenom svijetu, bavi statusom
čovjeka, podložnog skeniranju i mutlipliciranju.
Eksperimentiše sa vizualnošću EKG snimka i sa
proširenjem značenja grafičke umjetnosti, umjetnosti utiskivanja tragova, registrovanja suptilnih oscilacija, kontrole slučajnosti. Naročitu preokupaciju predstavlja uloga umjetnika/ce koja
„otkriva nove recepture i uspostavlja balans duše i
otiska, sadašnjosti i istorije”, kako umjetnica piše u
svom tekstu „Apokalipsa grafike”.
and temporal coordinates and the hierarchy of
meanings and roles. The drawings from the series
New Past aim at dissolving any possible hierarchy
into a floral pattern, so that what used to be a
coherent whole becomes broken into a thread of
repeated fragments. Through the pattern appears
a recognizable heroic attitude of Stjepan Filipović,
with the rope around his neck immediately before
the execution in 1942. With a diagonal line of barrels
of the army tanks crossing the hero, this work also
refers to Francisco de Goya’s famous representation of “May 3rd 1808”.
The cycle History re-painting by Muhamed Kafedžić
is set apart from the other works at the exhibition
because it treats the history of art and painting
techniques as a topic in itself, although certain
contextual connotations related to different epochs
and cultures are not to be neglected. Poster Boy –
Young Samurai Flautist clearly refers to The Flutter
by Edouard Manet (it even matches its dimensions),
but retains the main characteristics of Japanese
graphic art. Muhamed Kafedzic finds the universal
value in Japanese Ukiyo-e worldview (the view of a
floating world). He makes his research into various
epochs and traditions, and especially into different media, from Japanese woodcut and We-stern
classical painting to modern graphic design, comics
and street art. He oversized paintings and massive
street murals show a possibility of the creative
process of translation and transformation.
SARAJEVO 15
Odnos umjetnosti i određenih tehnoloških tokova (kao što su umjetna inteligencija, robotika,
kreacija humanoida) i problem dehumanizacije
predstavljaju interpretativni okvir multimedijalne
instalacije Daniela Premeca I BOT. I BOT je njegova
sopstvena replika u formi robota koji, sjedeći na
podu, projektuje sliku samog umjetnika kao djeteta.
Ono što je na početku definisano kao cilj robotike,
da bude ispomoć čovječanstvu, u savremeno doba
postaje nasilna tendencija da se ljudski život i
radni potencijal učine trošnim i zamjenjivim. Tome
se takođe pridružuje tendencija ka eliminisanju
ljudskih nedostataka (nametanje slike savršenog
ljudskog tijela i pojavljivanje na tržištu ženskog
humanoida nazvanog „savršena Žena”) i povećanje jaza u distribuciji moći između onih koji drže
monopol nad tehnološkim razvojem i onih koji nisu
u mogućnosti da prate ili čak da budu adekvatno
informisani o ovim tokovima. I BOT Daniela Premeca je robot bez funkcije; on bez pokreta sjedi na
podu fiksiran na sliku jednog sjećanja. Iako ovaj
rad predstavlja kritiku tehnološke dehumanizacije, određena doza humora ukazuje na uzaludnost
pokušaja da se vrijednost čovječanstva definiše kao
maksimum efikasnosti uz minimum afektivnosti.
Nasuprot takvoj obestrašćenoj viziji, umjetnost se
pojavljuje kao katalizator elementarne pozitivne
energije koja je u stanju da revitalizuje percepciju
stvarnosti i senzibilitet prema zajedničkim vrijednostima. Jusuf Hadžifejzović je jedan od umjetnika koji njeguje takvo povjerenje prema potencijalu
umjetnosti i svojom aktivnošću kontiuirano širi tu
„zarazu” i na druge, od „Jugoslovenskih dokumenata ” do „SUBdokumenata”, od depografije kao sopstvenog radnog procesa do „Emporio drangulariuma”
(Charlama Depot) kao kolektivne izložbe u procesu,
u stalnom rastu i transformacijama.
SARAJEVO 16
We Are All Made of Stars
The question of identityis addressed through the
process of transformation of the graphic image in
Taida Jašarević’s installation Sky/We are all made of
stars, as well as in her other cycles titled Water and
Above the Surface. This relation between the image
and the identity is translated into the relation between the technique and the material: technique
of intaglio and the transparence of Japanese paper
that is hand-painted in blue. In her research she
uses a concept of “re-mediation” as a possibility of
re-creating digital images through the technique of
photoengraving or intaglio, as well as a possibility
of achieving the effects of digital image through
the classical techniques of graphic art.
Renata Papišta is also interested in the status
of graphic image in our contemporary world,
especially in the ways it corresponds to the status
of the human being, susceptible to scanning and
multiplication. She experiments with the visuality
of electrocardiograms and searches for the ways
to widen the meaning of graphic art, which is an
art of embedding a trace, of registering the subtle
oscillations, and having control over coincidences.
Her particular concern is with the role of artist who
“discover new recipes and establishes a balance
between the soul and the imprint, the present
and the history,” as Papišta writes in her essay
“Apocalypse of Graphic Art.”
Relating art and technology, the multimedial installation I-BOT by Daniel Premec addresses certain
technological currents (such are the artificial intelligence, robotics, creation of humanoids), as well
as the problem of dehumanization. I-BOT is his own
replica in the form of a robot who, sitting on the
Njegova dugogodišnja djelatnost je poprimala
različite forme izraza (sakupljanje, instalacija, asamblaž, ready-made, pomognuti ready-made, umjetnost participacije, performans, kustoska aktivnost), ali se počeci te djelatnosti nalaze u domenu
analitičkog slikarstva.
Nakon tri decenije, ponovo se vraća slikarstvu koje
označava kao „neofuturistički optimizam kolorističke ekspanzije”. To nije proizvoljna definicija
i određen broj umjetnika mlađe generacije se
takođe priključuje. Nastojeći da predoči javnosti
postojanje ove scene, Hadžifejzović je priredio
izložbu u sarajevskoj galeriji Collegium artisticum
pod nazivom Inicijacija u salonu za proslave u febraru 2013. godine. Na izložbi su učestvovali:
Emir Kapetanović, Iva Simčić, Jasmina Gavrankapetanović, Demis Sinančević, Edo Vejselović, Emir
Mutevelić, Emina Huskić, grupa YAGE (Young
Artists Group Exhibition) itd. To je bila jedna od
najposjećenijih izložbi u Sarajevu te godine, ali
takođe i jedna od rijetkih koja je nosila duh pozitivne energije u skladu sa svojim hipnotičkim vizuelnim intenzitetom.
Ludički (igrački) pristup umjetnosti koji je bio karakterističan za Sarajevo 1980ih godina ponovo se pojavljuje takođe zahvaljujući ponovnom
aktiviranju jazz kafea “Zvono” gdje se održavaju male
samostalne izložbe, uglavnom mladih umjetnika.
Od članova grupe Zvono koji su kulturni život devete
decenije 20. vijeka prodrmali iznoseći umjetnost na
ulicu, u prirodu, u kafanu i na fudbalski stadion, danas
je u Sarajevu jedino Saša Bukvić koji čuva bogatu foto i video dokumentaciju o djelovanju ove grupe, čija
je 30-godišnjica osnivanja obilježena 2012. godine.
Sašina najnovija serija autoportreta je istovremeno
humoristična i gorka, sa tužnim pogledom u stranu
i dozom usamljenosti i zabrinutosti.
floor, projects a childhood image of the artist. Once
imagined to be an additional aid to humanity, the
aim of robotics in contemporary world becomes
an aggressive tendency of making dispensable human life and working ability. In addition, there are
equally aggressive tendencies to eliminate human
weaknesses (including the imposing of the image
of a perfect human body and the marketing of the
female humanoid called “Perfect Woman”). All this
also augments the chasm that separates those who
are keeping the monopoly over the technological
development, and those who are not able to follow
it or even to be properly informed. Daniel Premec’s
“I-BOT” is a robot without a function; he seats motionless on the floor fixated on the image of a
memory. Although this work represents a critique
of dehumanizing aspects of technology, it has a
certain amount of humor pointing to the futility of
the attempts to define human value as maximum
efficacy with minimum affectivity.
Art-working that catalyzes the elementary positive
energy, revitalizing the perception of reality and
sensibility toward shared values, confronts such an
affectionless vision. One of the artists who confide
such potentiality to art is Jusuf Hadžifejzović. Since
the 1980s he is spreading that “contagion”, from
Yugoslav documenta (1987, 1989) to SUB documenta (2009-2010), from “depotgraphy” as his own
working process to ”Emporio drangularium“ (Charlama Depot) as a collective exhibition in progress,
in continuous growth and transformation.
His artistic labor through the years assumed various forms of expression (collecting, installa-tion,
assemblage, ready made, art of participation, performance, curating), but its beginnings belong to
the domain of analytical painting.
SARAJEVO 17
Na nekima se pojavljuje kao glava robota bez
usta, kao lice bez ikakvih karakteristika ili sa karakteristikama sakrivenim iza prazne ukrštenice, ili
sa licem kao zid od cigle. Dvanaest autopotreta
predstavlja dvanaest različitih stanja uma i spada
u domen „neofuturističkog optimizma kolorističke
ekspanzije”.
Od porodičnog portreta do samoidentifikacije,
kroz promišljanje porodične istorije ili sopstvenih
stanja uma, od kulturno-psihološke analize kroz
performativnu akciju do analitičkog pristupa umjetničkom mediju, umjetnice i umjetnici koji danas
čine sarajevsku umjetničku scenu su bez izuzetka
preokupirani statusom i funkcijom umjetničkog
djelovanja (art-working) u nečemu što smo označili
kao „naježena stvarnost”. Naježena stvarnost je
stvarnost pod pritiskom, nabijena afektima.
Pritisak poprima različite oblike: nedostatak sistema vrednovanja, odsustvo društvenih vrijednosti i
povezanosti sa životima drugih, etno-naciona-lna
higijena, nesigurnost rada i egzistencije, permanentno tranzicijsko stanje, neprilagođene forme
demokratije, ideološki recidivi prošlosti maskirani u
progresivnu propagandu, politička neartikulisanost
i nove forme kulturne kolonizacije, invazija turbofolk kapitalizma, nepostojanja adekvatne istorijske
svijesti i vizije budućnosti.
U takvoj stvarnosti, funkcija umjetničkog djelovanja (art-working) je da kritički verifikuje diskurzivne
strategije i načine ponašanje, da ponudi modele
redefinicije odnosa etičkog i estetskog, ličnog i kolektivnog i da njeguje ultimativno pozitivan ludički
stav.
SARAJEVO 18
After three decades he returns to his painting
characterized as “neofuturistic optimism of colorful
expansion”. This is not an arbitrary definition but
has its solid reasons and it also entails a number of
artists of younger generation. Jusuf Hadžifejzović’s
willingness to show the public the existence and
potency of this scene resulted in an exhibition titled
“Initiation in a Saloon of Celebration”in January 2013
at the gallery Collegium artisticum Sarajevo. He made a selection of artists including: Emir Kapetanović, Iva Simčić, Jasmina Gavrankapetanović, Demis
Sinančević, Edo Vejselović, Emir Mutevelić, Emina
Huskić, grupa YAGE (Young Artists Group Exhibition)
etc. It was one of the exhibitions with the greatest
number of visitors in 2013 but also one that carried
a load of positive energy in accord with its hypnotic
visual intensity.
The return of a ludic (playful) approach to culture
that characterized Sarajevo of the 1980s is owed
also to the renewed activity of Jazz Café Zvono.
Aleksandar Saša Bukvić who is responsible for this
comeback is the only member of the former artistic
group Zvono now living in Sarajevo. The group
Zvono made its significant appearance in the 1980s
taking artworks out into the streets, cafes, in nature
and even to the football stadium. The new series
of self-portraits by Saša Bukvić is at the same time
loaded with humor and pinched with bitterness.
A sad look on the side carries a hint of loneliness
and worry. Some of these self-portraits show him
as a mouthless robot, as a featureless head, as a
face covered with empty crosswords or a brick wall.
Twelve self-portraits conjure up twelve states of
mind and belong to the “neofuturistic optimism of
colorful expansion”.
From family history to self-identification, whether
delving into familial storiesor one’s own states of
mind, whether dealing with cultural-psychological
analysis, performative action orwith an analytic
research into the artistic medium, artists who
are today active in Sarajevo artistic scene are all
concerned with the status and function of artworking in something we call a “bristling reality”.
Bristling reality is a reality under pressure, loaded
with affects. The pressure assumes different forms:
lack of the system of values; the absence of social
connectedness to the lives of others;the aggressive
ethno-national hygiene; precariousness of work
and existence; permanent transition; unadjusted
forms of democracy; ideological relapses disguised
as progressive propaganda; shortage of political
articulation; new forms of cultural colonization;
invasion of “turbo-folk” capitalism; the absence of
adequate historical consciousness and vision of the
future. The function of art-working in such reality is
to critically verify discursive strategies and the ways
of behaviour, as well as to redefine the relation
between the ethical and the aesthetical, personal
and collective, and to cherish the ultimately positive
ludic attitude.
Translation by Branka Vujanović
SARAJEVO 19
Džon Blekvud
Jon Blackwood
O „performativnosti“
u sarajevskom umjetničkom svijetu
On “Performativity” in the Sarajevo Art
World
Decenijama unazad sarajevska umjetnička „scena“
se konstantno mijenjala, otporna na definiciju i
teško razumljiva, posebno za stranca. Kao i u većini
bivših socijalističkih, novo stvorenih neoliberalnih
zemalja regiona umjetnost više ne zauzima neki
značajan javni prostor ili pažnju; bolje rečeno –
izgladnjela, bez ikakvog državnog finansiranja
ili priznanja, od ranih devedesetih umjetnost je
usvojila modalitet subkulture; dostupna nekolicini,
neshvaćena od strane mnogih, ona egzistira na
marginama mainstream-a oblasti vizuelnih medija.
Tužni je paradoks da se, u domenu hiper-vizuelne,
narcisoidne, potrošačke ere društvenih medija
vidljivost umjetnosti, barem u matičnoj oblasti,
dramatično smanjila.
Sarajevo’s art “scene”, for decades now, has been
constantly shifting, resistant to definition, and hard
to grasp, particularly for the outsider. As in most of
the former socialist, newly neo-liberal countries of
the region, art no longer occupies any significant
public space or attention; rather, starved of any
state funding or recognition, it has since the early
1990s adopted the mode of a subculture; accessible
to a few, misunderstood by many, existing at the
margins of the mainstream media’s field of vision. It
is a sad paradox that, in the hyper-visual, narcissistic,
consumerist era of social media, the visibility of art,
at least in the home field, has shrunk dramatically.
Kako da umjetnik izgradi i održi publiku u takvim
okolnostima? Dok su skorije kritike umjetničke
produkcije u Bosni i Hercegovini identifikovale
nedostatak finansiranja i funkcionisanja kulturne
infrastrukture kao ključni problem sa kojim se
suočava razvoj savremene umjetnosti manji dio
njih se fokusirao na položaj koji umjetnik zauzima u
savremenom društvu u Bosni i Hercegovini.
U ovom kratkom eseju predložio bih termin „performativni“ kao ključni element odnosa između
sarajevskih umjetnika i njihove publike; u vizuelno
zasićenom društvu, predstavljanje izazovnih ili
alternativnih gledišta čini vitalni dio izgradnje
umjetničkog profila.
SARAJEVO 20
How is an artist to build and maintain an audience
in such circumstances? Whilst recent critiques of art
production in BiH have identified a lack of funding
and functioning cultural infrastructure as the key
problem facing contemporary art’s development,
fewer have focused on the position that the artist
occupies in contemporary BiH society.
In this short essay, I would like to suggest the
“performative” as a key element of that relationship
between the Sarajevo artist and their public; in the
visually saturated society, performing challenging
or alternative viewpoints is a vital part of building
an artistic profile. It should also be noted that I
am not speaking of “performance” in the narrow
sense of “performance art”, but rather identifying
performative elements in a much broader portfolio
Takođe, treba napomenuti da ja ovdje ne govorim
o „performansima“ u užem značenju „umjetnosti
performansa“ već identifikujem performativne
elemente u mnogo širem portfoliju umjetničke
produkcije. Konkretno, želio bih da istaknem performativnost kao komunikacionu strategiju; kao
biografsku i ispovjednu intervenciju, u kojoj umjetnik nudi implicitno poređenje između ličnih priča i
priča iz publike kao i upotrebu performativnosti u
izgradnji društveno-političke kritike.
Možda se najbolji primjer korišćenja performativnosti kao komunikacione strategije može naći u
praksi Jusufa Hadžifejzovića, umjetnika, kustosa i
zagovornika savremene umjetnosti širom Bosne i
Hercegovine. Kao dio tima kustosa koji je osmislio
dvije najznačajnije izložbe savremene umjetnosti
u bivšoj Jugoslaviji –„Jugoslovenska Dokumenta”
1987. i 1989. godine, Jusufovo iskustvo kao organizatora i njegova praksa kao umjetnika koji se
neprestano razvija obogaćuju njegovu savremenu
umjetničku praksu kao i njegov rad na održavanju
galerije „Čarlama“ koja se nalazi u sarajevskom
tržnom centru Skenderija a koju vode umjetnici.
Jusufova praksa „depografije“, reciklaža instalacija i
performansa na različitim lokacijama, kao i zbirka
širokog spektra objekata od visoke umjetnosti do
masovno proizvedenog kiča, je sveobuhvatna
praksa koja se razvija od kasnih sedamdesetih. U
nizu razvojnih performansa, izvedenih samostalno kao i zajedno sa drugima (u posljednje vrijeme
sa Dženanom „Cviki“ Hadžihasanovićem i Emirom
„Mute“ Mutevelićem), Jusuf ispituje skorije istorijske događaje, savremene politike i estetike kroz
satiru, apsurdni humor i dadaističke kontraste.
of artistic production. Specifically, I would like
to highlight performativity as a communication
strategy; as a biographical and confessional intervention, in which the artist offers implicit comparison between personal stories and those of
the audience; and, the use of performativity in the
construction of socio-political critique.
Perhaps the best example of using performativity
as a communication strategy can be found in the
practice of Jusuf Hadžifejzović, as artist, curator,
and advocate for contemporary art in wider BiH.
As one of the curatorial team which delivered two of
the most significant exhbitions of contemporary art
in former Yugoslavia- Jugoslovenska Dokumenta, in
1987 and 1989, Jusuf’s experience as an organiser
and constantly evolving practice as an artist feed
into his contemporary artistic practice, and his work in maintaining the artist-run Galerija Čarlama, in
the city’s Skenderija shopping centre.
Jusuf’s practice of “depotography”; the recycling
of installations and performances in different locations, a swell as the collection of a vast range
of objects from high art to mass produced kitsch,
is an all-encompassing practice that has been
de-veloping since the late 1970s. In a series of
de-velopmental performances, performed on a
solo basis and together with others (in recent
times, Dzenan “Cviki” Hadžihasanović and Emir
“Mute” Mutevelić), Jusuf examines recent historical
events, contemporary politics and aesthetics through a range of satire, absurdist humour and Dadaist contrasts. Steeped in the history of performativity, this is an artist who manipulates a spectrum
of performative possibilities to challenge and make
his audience think again.
SARAJEVO 21
Duboko ukorijenjen u istoriji performativnosti, ovo
je umjetnik koji manipuliše spektrom performativnih mogućnosti kako bi izazvao i učinio da njegova
publika ponovo misli.
Paralelna strategija može se pronaći u radu Damira Nikšića. Poput Jusufa, Damir je performativni umjetnik koji interveniše u širokom spektru
disciplina; od performansa i videa (Da nijesam
musliman, 2005) preko slikarstva (Ričard Barton
kao Tito, 2011) i umjetničko-istorijskih instalacija (Bosansko-hercegovačko istorijsko slikarstvo –
tradicija nepostojanja, 2013-14). Damirov rad koristi
mogućnosti društvenih medija kako bi unaprijedio
i razvijao njegov profil umjetnika. Postavljajući
skoro svakodnevno novi video na Youtube, Damir
usvaja ličnost idiot-savant-a, razigrane budale,
koja komentariše zablude, nesporazume i apsurdnosti svakodnevnog života u prijestonici Bosne
i Hercegovine. Na taj način, on je postao mnogo
poznatiji nego većina njegovih savremenika; njegov rad je uvijek aktuelan i o njemu se raspravlja na
bosanskim portalima i forumima. U nastojanju da
pridobije mnogo širu publiku i prijem za svoj rad,
mimo tradicionalne galerijske izložbe, Nikšićeve
on-line intervencije nude jednu moguću strategiju za stvaranje nove publike zainteresovane za
savremenu umjetnost.
Video rad Maje Bajević Umjetnost mora biti nacionalna je primjer performativne umjetnosti koji
nudi oštru društveno-političku kritiku. Uzimajući
rad Marine Abramović Umjetnost mora biti lijepa
(1975), Maja mijenja riječ „lijep“ u riječ „nacionalni“
i ponavlja prvobitni performans.
Na taj način, naglasak čitavog performansa pomjera se na užasavajuće samouništenje. Povlači se paralela između pojmova „ljepote“ definisanih na muški
SARAJEVO 22
A parallel strategy can be found in the work of
Damir Nikšić. Like Jusuf, Damir is a performative
artist who intervenes in a wide variety of disciplines; from performance and video (If I Wasn’t Muslim of 2005), through painting (Richard Burton as
Tito 2011), and art historical installations (Bosnian
and Herzegovinian Historical Painting-Tradition of
Nonexistence of 2013-14). Damir’s work harnesses
the possibilities of social media to grow and develop his profile as an artist. Uploading a new video
on youtube almost daily, Damir adopts the persona of an idiot-savant, a playful fool, to comment
upon misconceptions, misunderstandings and the
absurdities of daily life in the Bosnian capital. In so
doing, he has achieved a much higher profile than
most of his contemporaries, with his work regularly
trending and being discussed on Bosnia news
portals and message boards. In achieving a much
larger audience and reception for his work, beyond
the traditional gallery exhibition, Nikšić’s on-line
interventions offer one possible strategy to grow
new audiences for contemporary art.
Maja Bajević’s video Art Must be National is an
example of performative art offering a sharp sociopolitical critique. Taking Marina Abramović’s Art
Must be Beautiful (1975), Maja changes the word
“beautiful” to the word “national” and repeats the
original performance. In so doing, the emphasis of
the whole performance shifts to one of horrifying
self-destruction. A parallel is drawn between maledefined notions of “beauty” and the way these
definitions are written as scripts on womens’ bodies,
and the arbitrary and often downright untrue scripts of nationhood and national identity that have
visited the Western Balkans since the dissolution of
Yugoslavia at the beginning of the 1990s.
način i načina na koji su ove definicije ispisane
kao tekstovi na ženskim tijelima, i proizvoljnih i
često veoma neistinitih tekstova o nacionalnosti
i nacionalnom identitetu koji su, od raspada
Jugoslavije početkom devedesetih, bili prisutni na
Zapadnom Balkanu. Ovdje je ogoljen pravi uticaj
koji mitovi i fantomske poluistine o etničkom
nacionalizmu imaju na živote stvarnih ljudi. Tu je
i gorko priznavanje činjenice da „međunarodna“
umjetnička publika očekuje da umjetničko djelo
iz ovog dijela svijeta sadrži poruke vezane ili za rat
ili za nacionalni identitet, što dodatno opterećuje
umjetnika koji možda i nema nikakvu želju da
prenosi takve poruke ili da razvija praksu koja
uključuje ove probleme. Uhvaćen između čekića
očekivanja kod kuće i nakovnja međunarodnog
umjetničkog tržišta, ovaj video rad veoma suptilno
pokazuje kako je jugoslovensko naslijeđe mutiralo
u post-socijalističku sadašnjost.
U posljednjih nekoliko godina umjetnički kolektiv
CRVENA imao je važnu ulogu u razvoju prodorne
kritičke oštrice o performativnoj umjetnosti. Umjetnice povezane sa CRVENOM, kao što su Adela Jušić, Lana Čmajčanin, Lala Raščić i Nela Hasanbegović razvile su prakse koje, kroz prizmu roda i politike,
odražavaju brojne disfunkcionalnosti savremenog
društva u Bosni i Hercegovini. Performansi Lale
Raščić stižu kako do onih angažovanih u ovim
diskursima tako i do onih koji nemaju saznanja o
njima, ali koji dolaze da uživaju u očaravajućoj priči kao i da uporede sudbine njihovih protagonista
sa sopstvenim. U instalaciji Krojenje i šivenje Lana
Čmajčanin impresionira gledaoca apsurdnošću
prostih nacionalističkih politika i predstavlja ideju
„nacije“ kao složenog mozaika interakcije koji stalno mijenja pojedinačne subjektivitete.
The real impact that the myths and phantom halftruths of ethnic nationalism have on real people’s
lives are laid bare, here.
There is also a bitter recognition of the fact that
the “international” art audience expects work from
this part of the world to contain messages either of
war or of national identity, placing a further burden
on the artist who may have no wish to communicate such messages or develop a practice involving
these issues.
Caught between the hammer of expectation at
home, and the anvil of the international art market,
this video very subtly shows how the Yugoslav
legacy has mutated in a post-socialist present.
The artist’s collective CRVENA (Red) has played a
major role in developing a cutting critical edge to
performative art in recent years. Artists associated
with CRVENA, such as Adela Jušić, Lana Čmajčanin,
Lala Raščić and Nela Hasanbegović have all developed practices that hold up, through the lens of
gender and politics, a mirror to the myriad dysfunctionalities of contemporary society in BiH.
Lala Raščić’s performances reach both those engaged in these discourses, and those who have no
knowledge of them, but who come to enjoy a
captivating stories and to compare the fates of
its protagonists with their own. In her installation Tailoring and Sewing, Lana Čmajčanin impresses on the viewer the absurdity of easy nationalist
polities, and presents the idea of a “nation” as a
complex mosaic of interacting, constantly changing
individual subjectivities.
SARAJEVO 23
„Performativna“ umjetnost takođe nudi mogućnost
izgradnje odnosa sa publikom, kroz ispovijesti
i biografske elemente. Jedan takav primjer je
fotografska instalacija Adele Jušić pod nazivom
Memory Lane (Staza sjećanja). Rad se fokusira na
uništenje porodičnih fotografija tokom opsade
Sarajeva 1992-1995. godine i na pokušaj da se
rekonstruišu neprocjenjiva lična sjećanja kroz
razgovor sa članovima porodice na drugim lokacijama i sa prijateljima. Uništavanje ličnih sjećanja
i porodične jedinke je predstavljeno uramljenom
izjavom Adeline sestre, koja sada služi u bosanskoj
vojsci, o njenom ocu koji je poginuo dok je u toku
opsade bio u aktivnoj službi; poznata figura mrtvih
vojnih lica zauzima svoje mjesto pored drugih
izgubljenih fotografija iz majčine porodice koje su
pronađene i sačuvane. Kroz iskreno otkrivanje svoje
porodične istorije, umjetnica neposredno počinje
da gradi vezu sa anonimnim posmatračem koji
je pozvan da razmisli o svojoj porodičnoj istoriji
i koliko se od nje zapravo sjeća dok posmatra
Memory Lane.
“Performative” art also offers the possibility of
building a relationship with the audience, through
the confessional and the biographical. Adela Jušić’s
photographical installation Memory Lane is one
such example. The work focuses on the destruction
of family photographs during the siege of Sarajevo
in 1992-95, and the attempt to reconstruct priceless
personal memories through discussion with family
members in other locations, and friends. The
destruction of personal memories and the family
unit is exemplified by the framed statement by
Adela’s sister, now serving in the Bosnian army, of
her father, who was killed on active service in the
siege; the familiar figure of the dead serviceman
takes its place alongside other lost photographs
recovered and preserved, from the maternal line
of the family. In the candid revelation of her own
family history, the artist immediately begins to
build a link with the anonymous viewer, who is
invited to consider their own family history, and
how much of it they actually remember, in viewing
Memory Lane.
Tuga (2005) Šejle Kamerić dodaje još jedan sloj našem razmatranju performativnosti. Šejlino ubacivanje sopstvene figure u rad u prvim godinama njene
karijere bilo je vrsta lajtmotiva, a na ovoj fotografiji ona
dramatizuje sebe u ponovnom stvaranju jednog Van
Gogovog crteža pod nazivom Tuga (1882). Na ovaj
način mijenja se originalni kontekst iz devetnaestog
vijeka u višeslojni narativ iz dvadeset prvog vijeka; to
je „tuga“ zbog događaja koje je umjetnica proživjela devedesetih ali i pokušaj da se ponovo uspostavi
veza između bosansko-hercegovačke vizuelnosti i
evropske tradicije, kulturna veza koju odbijaju oni
koji su nastojali da unište zemlju u tom nedavnom
sukobu. Stoga, ovo je drama o introspekciji, refleksiji
i ponovom oživljavanju.
Šejla Kamerić’s Sorrow of 2005 adds another layer to our consideration of performativity. Šejla’s
inserting of her own figure into her work in the first
years of her career was something of a leitmotif,
and in this photograph she dramatises herself
in a re-creation of a Van Gogh drawing entitled
Sorrow, of 1882. In this way the original nineteenth
century context is mutated into a densely layered
twenty first century narrative; “sorrow” for events
lived through by the artist in the 1990s, but also
an attempt at re-establishing the link between BiH
visuality and the European tradition, a cultural link
denied by those who sought to destroy the country
in that recent conflict. This is a drama, therefore, of
introspection, reflection, and re-invigoration.
SARAJEVO 24
Sarajevo je grad bogat u performativnoj tradiciji,
kroz popularnu muziku, pozorište i film. Za umjetnike koji žive i rade ovdje, kao što sam prikazao,
široka definicija izraza „performativni“ igra važnu
ulogu kako u ustanovljenim tako i u praksama u
razvoju. Upravo je ovaj „performativni“ element
od vitalnog značaja u dopiranju do postojeće i
nove publike zainteresovane za umjetnost, kako
u gradu tako i šire. U tom smislu, možda je borba
da umjetnost bude vidljiva u vizuelno zasićenoj
kulturi koja je opsednuta samom sobom prikriveni
blagoslov. Jer osnova svakog ljudskog odnosa je
uzajamno poštovanje i razmjena osjećanja i ideja. Ovakva komunikacija osjećanja i percepcije od
strane ovih umjetnika, na duboko ljudskom nivou
potvrđuje da će, uprkos svemu, umjetnost u ovom
gradu nastaviti da raste i razvija se, bez obzira na to
što budućnost može donijeti.
Sarajevo is a city rich in performative tradition,
across popular music, theatre, and film. For the
artists who live and work here, as I have shown,
a broad definition of the “performative” plays an
important role in both established and emerging
practices. It is this “performative” element that is
vital in reaching out to both existing, and new
audiences for art, both in the city and beyond. In
this sense, perhaps the struggle that art has to
be seen in a visually saturated and self obsessed
culture is a blessing in disguise. For the basis of
any human relationship is mutual respect and exchange of feelings and ideas.
This communication of feelings and perceptions
by these artists, on a deeply human level ensures
that, despite everything, art in this city will continue
to grow and develop, whatever the future might
hold.
Džon Blekvud
istoričar umjetnosti
živi na relaciji Aberdin, Škotska - Sarajevo.
Jon Blackwood
is an art historian
based between Aberdeen, Scotland and Sarajevo.
Prevod Darja Marija Vuletić
SARAJEVO 25
Maja Bajević
Rođena u Sarajevu 1967. godine.
Diplomirala je na Akademiji likovnih umjetnosti u
Sarajevu i École nationale supérieure des Beaux-Arts u
Pa-rizu. Predavala je na master studiju na L’Ecole Nationale des Beaux-Arts u Lionu, na Univerzitetu lUAV di
Venezia, na master studiju Bauhaus univerziteta u
Vajmaru. Samostalno je izlagala u PS1, MoMA, Njujork
(2004), Moderna Museet, Štokholm (2005), Fondazione Bevilacqua La Masa, Venecija (2008), Reina Sofia,
Madrid (2011), DAAD Gallery, Berlin (2012), The James
Gallery, CUNY, Njujork (2012-13). Živi i radi u Sarajevu.
Born in 1967 in Sarajevo.
She graduated at the Academy of Fine Arts in Sarajevo
and continued with her master studies L’École nationale supérieure des Beaux-Arts in Paris. She has been
teaching MA studies at L’Ecole Nationale des BeauxArts, Lyon; Università IUAV di Venezia, and MA studies
at Bauhaus University, Weimar. Solo exhibitions at PS1,
MoMA, New York (2004), Moderna Museet, Stockholm
(2005), National gallery B-H, Aevi (2006), Fondazione
Bevilacqua La Masa, Venice (2008), Reina Sofia, Madrid
(2011), DAAD Gallery, Berlin (2012), The James Gallery,
CUNY, New York (2012-13).
Lives and works in Sarajevo.
SARAJEVO 26
Umjetnost mora biti nacionalna, 2011.
Art has to be national, 2011
video 07’50’’
SARAJEVO 27
Saša Bukvić
Rođen u Sarajevu 1949. godine.
Diplomirao na Akademiji likovnih umjetnosti u Sarajevu. Jedan je od osnivača grupe ZVONO koja je
obilježila umjetnički život Sarajeva 1980-ih godina
i po kojoj nosi naziv nagrada za mlade umjetnike
Centra za savremenu umjetnost Sarajevo.
Kolektivni radovi grupe ZVONO nedavno su predstavljeni na izložbi Art Turning Left u Tejt Muzeju
u Liverpulu. Saša Bukvić izlagao je samostalno i na
grupnim izložbama. Živi i radi u Sarajevu.
Born in 1949 in Sarajevo.
He graduated at the Academy of Fine Arts in Sarajevo. He is one of the cofounders of the group ZVONO
that left a significant mark on the artistic life in Sarajevo during the 1980s. In its honour, the Young Artist Award in Bosnia-Herzegovina carries the name
Zvono. Collective works of the group ZVONO had
been recently presented at the exhibition Art Turning Left at the Tate Museum Liverpool. Saša Bukvić
exhibited at solo and group exhibitions.
Lives and works in Sarajevo.
Iz ciklusa Autoportreti, 2014.
From the series Self-Portraits, 2014
kombinovana tehnika | mixed technique
56 x 40 cm
SARAJEVO 28
Gordana Anđelić-Galić
Rođena u Mostaru 1949. godine.
Diplomirala na Filozofskom fakultetu u Sarajevu i na
Akademiji likovnih umjetnosti u Sarajevu, Odsjek za
slikarstvo. Izlagala na brojnim samostalnim i kolektivnim izložbama u bivšoj Jugoslaviji i inostranstvu, uključujući učešće na Bijenalu u Veneciji
1999, Aleksandrijskom bijenalu u Egiptu 2001,
Gender Check (MUMOK, Beč, 2010), Nomadic Party
(ARKO Art Center Seul, Južna Koreja, 2011). Članica
je internacionalne grupe Nine Dragon Heads.
Živi i radi u Sarajevu.
Born in 1949 in Mostar.
She graduated at the Faculty of Philosophy in
Sarajevo and at the Academy of Fine Arts in Sarajevo,
Department of Painting. She exhibited at numerous
solo and collective exhibitions in former Yugoslavia
and abroad, including the participation at Venice
Biennial 1999, Alexandrian Biennial Egypt 2001,
Gender Check (MUMOK, Wien, 2010), Nomadic Party
(ARKO Art Center Seoul, South Korea), Memory Lane
(Galerie du jour agnes b., Paris, France, 2014).
She is member of the international group Nine
Dragon Heads. Lives and works in Sarajevo.
SARAJEVO 30
O demokratiji, 2003.
On Democracy, 2003
Video-zvučna instalacija, dimenzije promjenjive
audio-video installation, variable dimensions
SARAJEVO 31
Danica Dakić
Rođena u Sarajevu 1962. godine.
Studirala na Akademiji likovnih umjetnosti u Sarajevu, Univerzitetu umetnosti u Beogradu i na
Akademiji likovnih umjetnosti u Diseldorfu. Brojne
samostalne izložbe uključuju: Hammer Museum
Los Anđeles; Muzej savremene umjetnosti, Zagreb;
Generali Foundation, Beč; Kunsthalle Diseldorf;
Muzej moderne umjetnosti Ljubljana; Nacionalna
galerija Bosne i Hercegovine, Sarajevo. Učestvovala
je u brojnim grupnim izložbama uključujući Documenta 12, Kasel; Istanbul bijenale 2003. i 2009. godine; Bijenale u Valensiji 2003; Bijenale u Sidneju
2010; Bijenale u Liverpulu 2010. Predaje na Bauhaus
Univerzitetu u Vajmaru.
Born in 1962 in Sarajevo.
She studied at the Academy of Fine Arts in Sarajevo, at the University of Art in Belgrade and at the
Academy of Fine Arts in Düsseldorf. Her numerous
solo exhibitionsinclude: Hammer Museum Los Angeles; Museum of Contemporary Art, Zagreb; Generali Foundation, Wien; Kunsthalle Düsseldorf; Museum of Modern Art, Ljubljana; National Art Gallery
Bosnia-Herzegovina, Sarajevo. She participated in
numerous group exhibitions including Documenta
12, Kasel; Istanbul Biennial 2003 and 2009; Valencia
Biennial 2003; Sidney Biennial 2010; Liverpool Biennial 2010. She is professor at the Bauhaus University, Weimar.
www.danicadakic.com
SARAJEVO 32
Jelica Dakić by Danica Dakić, 2012
„Rad je svjesna ljudska djelatnost“, Print nastao
za izložbu MIRAZ u kustoskoj koncepciji i selekciji
Dunje Blažević
„Work is a Conscious Human Activity“, print created
for the exhibition MIRAZ, curatorial concept and selection: Dunja Blažević
Izložbu MIRAZ organizovao je Centar za savremenu umjetnost Sarajevo (SCCA) kao dio projekta
„Žensko naslijeđe – doprinos jednakosti u kulturi”,
čiji je nosilac Centar za ženske studije iz Zagreba.
The exhibition MIRAZ was organized by Centre for
Contemporary Art Sarajevo (SCCA) as part of the
project “Women’s heritage: Contribution to Equality in Culture” (2011-2012) by Centre for Women
studies Zagreb.
Fotografija je iz privatne arhive umjetnice – Jelica Dakić u hotelskoj sobi, jedno od rijetkih zajedničkih
ljetovanja sa kćerkom, Opatija 2010.
The photograph belongs to the private archive of the artist – Jelica Dakic in a hotel room, during one of the
rare vacations with her daughter, Opatija 2010.
SARAJEVO 33
Taida Jašarević
Rođena u Sarajevu 1979. godine.
Diplomirala je na Akademiji likovnih umjetnosti u
Sarajevu, Odsjek za grafiku. Magistrirala i doktorirala na Joshibi Univerzitetu za umjetnost i dizajn u Japanu. Izlagala je na brojnim izložbama širom svijeta
i dobitnica je prestižnih nagrada za grafiku među
kojima je nagrada za grafiku Internacionalnog Trijenala u Krakovu, Nagrada Japanske Asocijacije za
Grafiku, Guanlan Internacionalnog Bijenala Grafike
u Kini.
Članica je ULUBIH-a (Udruženje likovnih umjetnika
BiH) i Univerzitetskog komiteta za grafičke studije
u Japanu.
Živi i radi u Sarajevu.
Born in 1979 in Sarajevo.
She graduated at the Academy of Fine Arts in Sarajevo and obtained her master and doctoral degree
from the Joshibi University of Art and Design in Japan. She has exhibited internationally and has been
awarded prizes including the International Triennial
Krakow Statutory Award, Japan Print Association
Encouragement Award, Guanlan International Print
Biennial Major Award.
She is member of ULUBIH (Artists Association of
Bosnia-Herzegovina) and of the Committee of Univeristy of Art and Print Studies in Japan.
Lives and works in Sarajevo.
www.jataida.com
SARAJEVO 34
Nebo | Svi smo napravljeni od zvijezda, 2011.
The Sky | We are all made of stars, 2011
intaglio, četvorodijelna instalacija od ručno rađenog papira
intaglio, four piece installation in handmade paper
SARAJEVO 35
Adela Jušić
Rođena u Sarajevu 1982. godine. Diplomirala je na
Akademiji likovnih umjetnosti u Sarajevu. Jedna
je od osnovateljica i članica Asocijacije za kulturu
i umjetnost Crvena. Izlagala je samostalno i na
brojnim internacionalnim kolektivnim izložbama,
uključujući recentne: Memory Lane (Galerie du jour
agnes b., Paris, Francuska); IV Internacionalno bijenale mladih (Moskva, Rusija); CONFLICT: Art and War
(Contemporary Art Society, London), Good Girls_
Memory, Desire, Power (MNAC Bukurešt, Rumunija).
Živi i radi u Sarajevu.
Born 1982 in Sarajevo. Graduated from the Academy of Fine Art in Sarajevo. She is a cofounder of the
Asocciation for Culture and Art Crvena.
She has exhibited solo and in many international
exhibitions including Memory Lane (Galerie du jour
agnes b., Paris, France); IV Moscow International Biennale for Young Art (Russia); Conflict: Art and War
(Contemporary Art Society, London), Good Girls_
Memory, Desire, Power (MNAC Bucharest, Romania).
Lives and works in Sarajevo.
www.adelajusic.wordpress.com
Staza sjećanja | Rekonstrukcija 1, 2012.
Memory Lane | Reconstruction 1, 2012.
SARAJEVO 36
crno-bijele fotografije, nepoznati autori, rukopis na zidu
black and white photographs, unknown authors, handwriting on the wall
Posebna zahvalnost Andreji Dugandžić | Special thanks to: Andreja Dugandžić
SARAJEVO 37
Šejla Kamerić
Rođena u Sarajevu 1976. godine.
Studirala na Akademiji likovnih umjetnosti u Sarajevu. Recentne samostalne izložbe uključuju: Contemporary art center Vilnius, Galerie Tanja Wagner
Berlin, MSU Beograd, Kunsthaus Graz, MSUM Ljubljana, MSU Zagreb, MACBA Barselona.
Učestvovala je na brojnim kolektivnim izložbama,
filmskim festivalima i umjetničkim bijenalima idobitnica je nekoliko nagrada.
Živi i radi u Berlinu i Sarajevu.
Born 1976 in Sarajevo. Completed her studies at
the Academy of Fine Art in Sarajevo. Recent solo
exhibitions include: Contemporary art center Vilnius, Galerie Tanja Wagner Berlin, Museum of contemporary art Belgrade, Museum of contemporary
art Zagreb, Kunsthaus Graz, Musem of modern art
Ljubljana, MACBA Barcelona. She participated in
numerous group exhibitions, film festivals and art
biennials, and received several awards. Lives and
works in Berlin and Sarajevo.
Tuga, 2005. ►
Sorrow, 2005.
fotografija u boji, poster
colour photograph, poster
122,5 x 183 cm
HomeSICK, started in 2001.
ongoing project
sticker, 14 x 14 cm
www.sejlakameric.com
SARAJEVO 38
Emir Kapetanović
Rođen u Sarajevu 1980. godine. Apsolvent je kiparstva na Akademiji likovnih umjetnosti Sarajevo.
Jedan je od osnivača kulturne asocijacije Vizionarsko
društvo i projekta Barake. Učestvovao u projektu
SUBdokumenta Sarajevo (2009–2010).
Kao restaurator radio na obnovi sarajevske Vijećnice.
Izlagao je samostalno i na kolektivnim izložbama.
Živi i radi u Sarajevu.
Born in 1980 in Sarajevo. He studied at the Academy
of Fine Arts in Sarajevo, Department of Sculpture.
He is one of the cofounders of the cultural association Visionary society and of the Project Barake.
He participated in the SUBdokumenta Project.
As a restoration artist he worked at the renovation
of Sarajevo National Library Vijećnica.
He exhibited at solo and collective exhibitions.
He lives and works in Sarajevo.
SARAJEVO 40
Bez naziva, 2013.
Untitled, 2013
akrilik na platnu | acrylic on canvas
100 x 120 cm
Muhamed Kafedžić – Muha
Rođen u Zenici 1977. godine.
Magistrirao na Akademiji likovnih umjetnosti u Sarajevu, Odsjek za slikarstvo, sa tezom koja sumira
njegov interes za japansku umjetnosti i kulturu,
naročito Ukiyo-e grafiku. Izlagao je samostalno i
učestvovao na kolektivnim izložbama, radionicama
i kolonijama i dobitnik je nagrade Collegium artisticum za slikarstvo 2013. Član je ULUBIH-a.
Živi i radi u Sarajevu.
Born in 1977 in Zenica.
He obtained his Master degree in Painiting from the
Academy of Fine Arts in Sarajevo, with the thesis
summarizing his interest for Japanese art and culture, specifically Ukiyo-e prints. He exhibited at
solo and group exhibitions, participated in workshops and colonies and was awarded the Collegium
artisticum Annual Award for Painting in 2013.
He is a member of ULUBIH (Artists Association of
Bosnia-Herzegovina).
Lives and works in Sarajevo.
www.muhaonline.com
SARAJEVO 42
Iz ciklusa Istorija – ponovno slikanje, 2013.
From the series History Re-painting, 2013
Mladi samurajski flautista, 2013
Poster Boy – Young Samurai Flautist, 2013
akrilik na platnu | acrylic on canvas
180 x 106 cm
Damir Nikšić
Rođen u Brezovom polju kod Brčkog 1970. godine.
Studirao je na likovnim akademijama u Sarajevu,
Milanu i Bolonji, a diplomirao na Akademiji likovnih umjetnosti u Sarajevu, Odsjek za slikarstvo.
Magistrirao je iz likovnih umjetnosti i istorije umjetnosti na Univerzitetu Arizona, SAD. Predavao je na
Northwestern Univerzitetu u Evansonu kod Čikaga,
SAD. Njegove brojne izlagačke aktivnosti uključuju
učešće na Bijenalu u Veneciji 2003.
Živi i radi u Sarajevu.
Born in 1970 in Brezovo polje near Brčko. He studied
at the Academy of Fine Arts in Sarajevo, Milan and
Bologna. Graduated at the Academy of Fine Arts Sarajevo, Department of Painting. He obtained his MA
degree in Fine Arts and Art History at the University
of Arizona, USA. He has been teaching at the Northwestern University in Evanson, near Chicago, USA.
His numerous international exhibitions include the
participation at Venice Biennial 2003. He lives and
works in Sarajevo.
www.youtube.com/user/almaymun
Čovjek je čovjeku vlast ►
(Pukovnik Andrija Selić pored Če Gevare), 2014.
Man is Authority to Man
(Colonel Andrija Selić next to Che Guevara), 2014
kombinovana tehnika, print
mixed technique, print
70 x 83 cm
SARAJEVO 44
Savremenost, 2014. | Contemporaneity, 2014
kombinovana tehnika, print
mixed technique, print
70 x 70 cm
Renata Papišta
Rođena u Sarajevu 1981. godine.
Završila je dodiplomske i postdiplomske studije na
Akademiji likovnih umjetnosti u Sarajevu, Odsjek
za grafiku. Izlagala je samostalno i na brojnim grupnim izložbama, bijenalima, trijenalima, festivalima
i kolonijama i dobitnica je pet nagrada za grafiku.
Članica je ULUBIH-a (Udruženje likovnih umjetnika
BiH). Radi u zvanju višeg asistenta na Odsjeku za
grafiku Akademije likovnih umjetnosti u Sarajevu.
SARAJEVO 46
Born in 1981 in Sarajevo. She completed her graduate and postgraduate studies at the Academy of
Fine Arts in Sarajevo, Department of Graphic Art.
She exhibited at solo and numerous group exhibitions, biennials, triennials, festivals and colonies.
She has been awarded five prizesfor graphic art.
She is member of ULUBIH (Artists Association of
Bosnia-Herzegovina). She is teaching at the Academy of Fine Arts in Sarajevo.
„Zapis o čovjeku“: u tragovima i traganjima, u repeticiji i oscilacijama, skeniranju i multipliciranju
jednog života... jednog čovječanstva, 2014. | “The Record on Man”: in traces and searches, in repetition
and oscillations, in scanning and multiplying one life ... one mankind, 2014
Poliptih grafičkih listova, linorez na ručno rađenom papiru | polyptych of graphic sheets, linocut on handmade paper,
146 x 150 cm
SARAJEVO 47
Daniel Premec
Rođen u Sarajevu 1976.godine.
Diplomirao i magistrirao na Akademiji likovnih umjetnosti u Sarajevu, Odsjek za skulpturu. Od 2012.
godine pohađa doktorski studij na Akademiji likovnih umetnosti Univerziteta u Beogradu.
Izlagao nabrojnim regionalnim i internacionalnim
izložbama, simpozijumima i radionicama. Dobitnik
je nekoliko nagrada. Član je ULUBIH-a (Udruženje
likovnih umjetnika Bosne i Hercegovine) i Asocijacije za kulturu i umjetnost Crvena. Radi u zvanju
višeg asistenta na Akademiji likovnih umjetnosti u
Sarajevu.
Born 1976 in Sarajevo.
He obtained his BFA and MFA degree from the
Academy of Fine Arts in Sarajevo, Department of
Sculpture. Since 2012. at PhD studies at Faculty of
Fine Arts, University of Arts in Belgrade.
Participated in numerous regional and international
exhibitions, symposiums and workshops.
He received several awards. He is a member of ULUBIH (Artists Association of Bosnia-Herzegovina) and
of the Association for Culture and Art Crvena. He is
teaching at the Academy of Fine Arts in Sarajevo.
www.premecdaniel.com
SARAJEVO 48
I BOT, 2010.
video skulptura | video sculpture
Jasmina Gavrankapetanović-Redžić
Rođena u Sarajevu 1980. godine.
Diplomirala je na Akademiji likovnih umjetnosti u
Sarajevu, Odsjek za slikarstvo. Magistirala na Okinawa Prefectural University of Arts (Japan)-Graduate
School of Formative Arts. Nosilac je MA diplome
‘Cultural Projects for Development’, Università degli
Studi di Torino/ILO. Doktorirala je na studiju Teorije umetnosti i medija, Centra za interdisciplinarne
studije Univerziteta umetnosti u Beogradu, 2014.
godine. Predaje na Akademiji likovnih umjetnosti u
Sarajevu. Živi i radi u Sarajevu.
Born 1980 in Sarajevo.
Graduated from the Academy of Fine Art in Sarajevo, Department of Painting. She obtained her MA
degree from the Okinawa Prefectural University of
Arts (Japan)-Graduate School of Formative Arts.
She is a holder of MA degree ‘Cultural Projects for
Development’ from Universitàde gli Studi di Torino/
ILO. Holds a PhD in Theory of art and media at the
Interdisciplinary studies of the University of Art in
Belgrade (2014). She is teaching at the Academy of
Fine Arts in Sarajevo. Lives and works in Sarajevo.
www.gavrankapetan.weebly.com
SARAJEVO 50
Iz ciklusa New Past (Nova prošlost), 2011.
from the series New Past, 2011
Figure regresije
(sa Stjepanom Filipovićem), 2011.
Figures of Regression
(with Stjepan Filipović), 2011
kombinovana tehnika na paus papiru
mixed technique on tracing paper
70 x 100 cm
SARAJEVO 51
Iva Simčić
Rođena u Sarajevu 1974. godine.
Diplomirala je na Illinois Univerzitetu u Čikagu,
a magistrirala na Yale University School of Art.
Pohađa doktorski studij Teorija umetnosti i medija
na Interdisciplinarnim studijima Univerziteta umetnosti u Beogradu. Učesnica brojnih izložbi i dobitnica nekoliko prestižnih nagrada i stipendija poput:
Mostar Grand Prix 2011. (14. Anale crteža Mostar),
Jacob K. Javits Fellowship Award in Studio Arts,
Robert Schoelkopf Memorial Traveling Fellowship,
Yale University Scholarship, Illinois Art Council Artist Fellowship Award in Visual Arts. Zaposlena kao
viši asistent na Akademiji likovnih umjetnosti u Sarajevu. Živi i radi u Sarajevu.
Born 1974 in Sarajevo.
Holds a BFA in Painting/ Printmaking from the University of Illinois at Chicago and a MFA in Painting/
Printmaking from Yale University School Of Art.
Currently enrolled in the PhD Program at the Department of Theory of Arts and Media at the University
of Arts in Belgrade. Participant in numerous exhibitions and receiver of several prestigious awards and
scholarships like Mostar Grand Prix 2011. (14. Anale
crteža Mostar), Jacob K. Javits Fellowship Award in
Studio Arts, Robert Schoelkopf Memorial Traveling
Fellowship, Yale University Scholarship, Illinois Art
Council Artist Fellowship Award in Visual Arts.Employed as an assistant at the Academy of Visual Arts
Sarajevo. Lives and works in Sarajevo.
Iz ciklusa Think Left (Misliti lijevo), 2012.
From the series Think Left, 2012
gips, mamuza, koža, lanac
plaster, spurs, leather, chain
23 x 42 x 11 cm
SARAJEVO 52
Iz ciklusa Think Left (Misliti lijevo), 2012–2013. | From the series Think Left, 2012–2013
Once Upon a Time in the West #1 | Bilo jednom na Divljem Zapadu #1, 2012
kombinovana tehnika na platnu | mixed technique on canvas
20 x 30 cm
SARAJEVO 53
Alma Suljević
Rođena u Kaknju 1963. godine.
Završila je postdiplomske studije na Akademiji
likovnih umjetnosti u Sarajevu i na Filozofskom
fakultetu u Sarajevu. Dobitnica je brojnih nagrada, uključujući i nominaciju za Nobelovu nagradu
za podizanje svijesti o opasnosti minskih polja i
aktivno učešće u deminiranju. Izlagala je samostalno i na brojnim internacionalnim kolektivnim
izložbama, uključujući Bijenale u Veneciji 2001,
In den Schluchten des Balkan (Kunsthalle Fridericianum Kassel), Act of Resistance – San Sebastian
Bijenale. Profesorica je na Akademiji likovnih umjetnosti u Sarajevu.
Born in 1963 in Kakanj.
She completed her postgraduate studies at the
Academy of Fine Arts in Sarajevo and at the Faculty
of Philosophy in Sarajevo. She has been awarded
several prizes, including a nomination for Nobel
Peace Prize in 2005 for rising awarness about the
danger of minefields and for actively participating
in de-mining. She has exhibited solo and at numerous international collective exhibitions, including
Venice Biennial 2001, In den Schluchten des Balkans
(Kunsthalle Fridericianum Kassel), Act of Resistance
– San Sebastian Biennial. She is a professor at the
Academy of Fine Arts in Sarajevo.
SARAJEVO 54
Elektra, 1998.
Electra, 1998
video 6’56’’
4Entity, rad u nastanku od 2002. godine; akcija deminiranja minskih polja, performans, kartografija
4Entity, work in progress since 2002, action of demining minefields, performance, cartography
Nela Hasanbegović
Rođena u Sarajevu 1984. godine.
Diplomirala i magistrirala na Akademiji likovnih
umjetnosti u Sarajevu, Odsjek za skulpturu.
Od 2013. godine pohađa doktorski studij na Akademiji li-kovnih umetnosti Univerziteta u Beogradu.
Članica je ULUBIH-a (Udruženje likovnih umjetnika
Bosne i Hercegovine) i Asocijacije za kulturu i umjetnost Crvena. Izlagala na brojnim regionalnim i internacionalnim izložbama, simpozijumima i radionicama, dobitnica je nekoliko nagrada i stipendija. Radi
u zvanju asistenta na Akademiji likovnih umjetnosti
u Sarajevu.
Born 1984 in Sarajevo.
She obtained her BFA and MFA degree from the
Academy of Fine Art in Sarajevo, Department for
Sculpture. Since 2013. at PhD studies at Faculty of
Fine Arts, University of Arts in Belgrade. She is a
member of ULUBIH (Artists Association of BosniaHerzegovina) and of the Association for Culture and
Art Crvena.
Participated in numerous regional and international
exhibitions,symposiums and workshops, received
several awards and scholarships. She is teaching at
the Academy of Fine Arts in Sarajevo.
www.nelahasanbegovic.com
SARAJEVO 56
Priča o ribi, 2013.
Story About Fish, 2013.
video instalacija | video instalation
SARAJEVO 57
Jusuf Hadžifejzović
Rođen u Prijepolju 1954. godine.
Studirao je na Akademiji likovnih umetnosti u
Beogradu i završio postdiplomski studij na Državnoj
akademiji umjetnosti u Diseldorfu.
Jedan je od osnivača projekta Jugoslovenska dokumenta (1987–1989), internacionalne kolekcije Ars
Aevi, dvogodišnjeg projekta SUBdokumenta (20092010) i Centra kulturnih aktivnosti Charlama. Izlagao na brojnim svjetskim bijenalima i izložbama u
Berlinu, Moskvi, Istanbulu, Izraelu, Johanesburgu,
Veneciji, Seulu.
Živi i radi u Sarajevu.
Born in 1954 in Prijepolje.
He completed his graduate studies at the Academy
of Fine Arts in Belgrade and postgraduate studies
at the State Academy of Arts in Düsseldorf. He is
one of the founders of the project Yugoslav documenta (1987, 1989), of the international collection
Ars Aevi, of the project SUBdocumenta (2009-2010)
and of the Center for cultural activities Charlama.
He exhibited at numerous international biennials
and exhibitions in Berlin, Moscow, Istanbul, Israel,
Johannesburg, Venice, Seoul.
Lives and works in Sarajevo.
www.hadzifejzovicjusuf.wordpress.com
Sedimentacija bojenih krugova, 2013-2014.
Sedimentation of Coloured Circles, 2013-2014
akrilik na kartonu, dimenzije varijabilne
acrylic on cardboard, variable dimensions
SARAJEVO 58
Sedimentacija bojenih krugova, 2013-2014.
Sedimentation of Coloured Circles, 2013-2014
akrilik na kartonu, dimenzije varijabilne
acrylic on cardboard, variable dimensions
Ivan Hrkaš
Rođen u Sarajevu 1978. godine.
Nakon započetih studija na Akademiji likovnih
umjetnosti Becalel u Jerusalemu, studirao je na
Akademiji likovnih umjetnosti u Sarajevu, gdje je
diplomirao i magistrirao na Odsjeku za fotografiju.
Izlagao je na prostoru Bosne i Hercegovine, Austrije,
Crne Gore, Tunisa, Slovenije, Srbije, Velike Britanije,
Izraela, Meksika, SAD, te osvojio nagrade na brojnim
festivalima. Radi u zvanju docenta na Akademiji likovnih umjetnosti u Sarajevu i kao gostujući profesor na Visokoj školi za dizajn u Ljubljani.
Živi u Sarajevu.
Born in 1978 in Sarajevo.
He started his graduate studies at the Academy of
Fine Art Becalel in Jerusalem and completed his
studies at the Academy of Fine Arts in Sarajevo
where he obtained his MA degree at the Department of Photography.
He exhibited in Bosnia-Herzegovina, Austria, Montenegro, Tunisia, Slovenia, Serbia, Great Britain, Israel,
Mexico, USA. He was award ed prizesat numerous
festivals. He is teachingat the Academy of Fine Arts
in Sarajevo and as guest professor at the School of
Design in Ljubljana. Lives in Sarajevo.
SARAJEVO 60
Iz ciklusa Intime #2, 2012.
From the series Intime #2, 2012
fotografija | photograph
100 x 70 cm
BANJALUKA: Slobodan Vidović
Ninoslav Kovačević | Nenad Malešević
Miodrag Manojlović | Radenko Milak
Mladen Miljanović | Borjana Mrđa | Veso Sovilj
Predrag Terzić
Predrag Terzić
Anđeo sa kojim se rvemo
The Angel We Are Wrestling With
Ako želite da dođete do prave ideje, važno je da u
razmišljanju krenete u stranu.
Anri Poankare (Henri Poincaré)
If you want to get to the exact idea, it is important to
move aside in thinking.
Henri Poincaré
Čitajući Strašne priče od Lafkadija Herna (Jakumo
Koizumi), naišao sam na jednu koja se među
njima značajno izdvojila, a naslov joj je Pitanje u
Zen tekstovima. Kratka priča, u koju vas uvode dva
prijatelja (pričajući o priči i postavljajući pitanja),
koji vam pružaju podsticaj, a ujedno sugerišu i na
razmišljanje, ali vam ne daju nikakvo objašnjenje.
Radnja priče se dešava u mestu Hanjang, u kojem
je živeo čovek po imenu Čang-Kijen. Kroz priču
upoznajemo njegovu ćerku Ćing, koja je obdarena
neuporedivom lepotom. Jednom je, kroz šalu, ČangKijen rekao svom sestriću Vang-Čau, da je Ćing
njegova buduća žena. Kada je Ćing stasala za udaju
zaprosio ju je čovek na visokom položaju. Ta vest je
duboko pogodila Vang-Čua, te je rešio da ode iz
Hanjanga. Otišao je na svoj brodić i rešio da krene uz
reku, međutim, čuo je za sobom Ćingin glas, ukrcao
ju je na brodić i krenuli su dalje zajedno. Živeli su
srećno narednih šest godina i imali su dvoje dece.
U jednom trenutku, Ćing se uželela svoje porodice i oni su se vratili u Hanjang. Zbog prethodnog
bekstva i straha od osude njene porodice Vang-Čau
je otišao sam kod njenog oca i video da u njegovoj
kući leži nepokretna Ćing. Čang-Kijen mu je tad rekao, da je Ćing pala u postelju i ostala nepokretna
onog trenutka kada je Vang-Čau otišao iz Hanjanga.
Zbunjeni nastalom situacijom obojica su otišla do
Vang-Čauovog brodića gde ih je na palubi čekala
odbegla Ćing. Otac Čang-Kijen je bio vidno zatečen
Reading Stories and Studies of Strange Things by
Lafcadio Hearn (Koizumi Jakumo), I came across a
story that significantly stands out and is entitled
Question in Zen Texts. This is a short story into which
you are introduced by two friends (who are talking
about the story and asking questions); they are
giving you a stimulus while suggesting reflection at
the same time but not giving any explanation. The
plot of the story is taking place in Hanyang, where
a man named Chang-Qian lived. Through the story
we get to know his daughter Qing, who is endowed
with unparalleled beauty. Once, as a joke, ChangQian told his nephew Wang Chow, that Qing is his
future wife. A man in a high position proposed to her
when Qing came of age to get married. The news
deeply affected Wang Chow so he decided to leave
Hanyang. He went to his boat and decided to go to
up the river; however, when he heard Qing’s voice
behind him, he helped her embark on the boat and
they went away together. They lived happily for the
next six years and had two children. At one point,
as Qing was longing for her family they returned
to Hanyang. Because of her previous flight and fear
of condemnation of her family Wang Chow went
alone to her father and saw that a motionless Qing
was lying in his house. Chang- Qian then said to
him that Qing fell into bed and stayed motionless
the moment Wang Chow left Hanyang. Confused
by the situation they both went to Wang Chow’s
BANJALUKA 64
događajem, te su svo troje krenuli ka Kijanovoj kući.
Videvši se, obe Ćing su krenule jedna drugoj u zagrljaj. U tom trenutku su se spojile i od tada postoji
samo jedna Ćing. Posle pročitane priče pojavljuje
se pitanje među prijateljima: U slučaju razdvojenosti duha devojke Ćing, koja je bila istinska Ćing?
Ovde bih da citiram jednog od prijatelja, koji kaže:
Ako uspeš da shvatiš koja je bila prava Ćing, tada ćeš
naučiti da je prelazak iz jedne čaure u drugu, isto kao
što putnik menja krčme na putu. U daljem razgovoru
dva prijatelja postavlja se i materijalističko pitanje:
Šta je bilo sa njihovom odećom, da li su se i one stopile kao što su se stopile obe Ćing? – Takvo pitanje nema važnost sa budističke tačke gledišta, pošto
bi trebalo da je ličnost devojke Ćing, predmet naše
pažnje, odgovori drugi prijatelj. – Ali to još uvek nije
odgovor na moje pitanje, reče prvi.
Najbolji odgovor je, reče drugi, da se ne odgovori. –
Kako to? reče prvi.
Jer nešto takvo kao ličnost – ne postoji. 1
Možemo li onda reći da se savremena umetnost
kao i teorija umetnosti nalaze u sličnoj situaciji? Veoma je teško današnjoj teoriji da objasni savremenu umetničku praksu na adekvatan način, budući
da ona podrazumeva pojavu novih intervencija,
instalacija u prostoru, drugačije sagledavanje i konstrukciju viđenja kao i proširene definicije savremene umetnosti. Danas su problemi unutar umetnosti vezani za pitanje stvarnosti, prostora, vremena
kao i za drugačije sagledavanje pitanja šta to može
biti umetničko delo? Da li postoji mogućnost da
je naša stvarnost nezavisna od nas samih, ili je mi,
kao subjekti, vlastitim bivstvovanjem oblikujemo?
Ako govorimo o umetničkim delima kojima smo
okruženi, mi ih u osnovi doživljavamo putem njiho1 Lefkadio Hern, Strašne priče, SJD Beograd-Tokio, Beograd, 2013., str.
95-101.
boat where the runaway Qing was waiting for them
on the deck. Father Chang-Qian was visibly taken
aback by the event so the three of them went to
Qian’s home. Having seen each other both the girls
Qing started to hug each other. At this point they
merged and since then there exists only one girl
Qing. After having read the story a question arose
among the friends: In the case of separation of the
spirit of the girl Qing, which was the true Qing? Here,
I would like to quote one of the friends, who said: If
you manage to figure out who was the real Qing, then
you will learn that the transition from one cocoon to
another is just the same as is the traveller changing
pubs along the road. In further conversation of the
two friends a materialist question is asked: What
happened with their clothes? Did their clothes also
blend as both Qing girls did? – Such a question has
no relevance from a Buddhist point of view, as the
personality of the girl Qing should be the object of
our attention, the other friend replied. – But that still
does not answer my question, said the first one. The
best answer is, said the other one, not to reply. – How
so? said the first one. It is because such a thing as
personality – does not exist.1
Can we say then that contemporary art as well
as art theory are in a similar situation? It is very
difficult for today’s theory to explain contemporary
art practice in a proper way, since it involves the
appearance of new interventions, installations
in space, a different evaluation and construction
of perception as well as expanded definitions of
contemporary art. Today, problems within art are
related to the question of reality, space, time as well
as to a different consideration of the issue of what
can be a work of art?
1 Lafcadio Hearn, Stories and Studies of Strange Things, SJD BeogradTokio, Beograd, 2013., p. 95-101
BANJALUKA 65
ve materijalnosti, odnosno vidljivosti, ukazujući
time i na nešto što uključuje ne samo čulnost već
i naše misaone sposobnosti. Svakako se može reći
da je umetnost na neki način obeležena vremenom
i društvom u kojem je stvarana, iako je uspevala i da
ih prevaziđe. Pitanje koje se danas postavlja vizuelnoj kulturi okrenuto je njenom prikazivanju naše
izlomljene stvarnosti, i tome koliko je umetnost u
mogućnosti da predstavlja onu vrstu komunikacije
u kojoj je sloboda igrala najvažniju ulogu, i gde nije
podlegla nikakvim pravilima, osim svojim sopstvenim. Šta je to što se danas prepoznaje kao umetnost?
Doba prosvetiteljstva i njegova misao pokrenula je radikalnu rekonstrukciju sveta. Renesansna
umetnost anticipirala je takav pogled utemeljenjem osnovnih pravila prespektive već sredinom XV
veka, na čelu sa Albertijem (Leon Battista Alberti) i
Bruneleskijem (Filippo Brunelleschi), te ustoličila logiku pogleda do današnjih dana. Prikazivanje sveta
putem linearne perspektive značilo je:
1) mehanicistički nadzor nad svemirom, kao u potpunosti samoisprepletanim totalitetom;
2) načelno prihvatanje da u svakom fenomenu, kao
spoljašnjem obliku, postoji unutrašnja pravilnost;
i 3) nužna neizvesnost koja tvrdi da razumevanje
potiče iz nezavisnosti posmatračeve perspektive.2
Gubitak linearne perspektive u umetnosti tokom
XIX veka, njeno postupno nestajanje u događajima
koji su vezani za avangardu3 XX veka, kao i pojava
konceptualne umetnosti tokom druge polovine XX
veka, ukazuje na krizu teorije umetnosti i naučno2 Chris Jenks, Vizualna kultura, Jasenski i Turk, Zagreb, 2002., str. 15.
3 Avangardne poetike se predstavljaju kao modeli privilegovanog
spozanvanja realnosti i kao momenti razaranja hijerarhizovane strukture
individue i društva, Vatimo Đani, Kraj moderne, Bratsvo – jedinstvo, Novi
sad, 1991, str. 55.
BANJALUKA 66
Is it possible that our reality is independent of
ourselves or we, as subjects, shape it through our
existence? If we talk about the works of art which
we are surrounded by, we basically experience
them through their materiality and visibility, thus
pointing to something that involves not only the
senses but also our thinking abilities. Certainly it
can be said that art is marked in some way by time
and society in which it was created, although it also
managed to overcome them. The question we ask
the visual culture today is turned to its portrayal
of our broken reality and to how art is able to
represent the kind of communication in which
freedom played the most important role while not
succumbing to any rules, except its own. What do
we recognize as art today?
The Age of Enlightenment and its idea has launched
a radical reconstruction of the world. Renaissance
art has anticipated this view by establishing basic
rules of perspective by the mid-fifteenth century,
led by Leon Battista Alberti and Filippo Brunelleschi
thus paving the logic of views to the present day.
Presenting the world through linear perspective
meant the following: 1) the mechanistic control
over the universe as a fully self-intertwined totality;
2) a general acceptance that in every phenomenon,
as an external form, there exists internal regularity;
and 3) the essential uncertainty which argues that
understanding originates from the independence of
the viewer’s perspective.2
2 Chris Jenks, Visual Culture, Jasenski i Turk, Zagreb, 2002, p. 15
kulturnog modela interpretacije, u pokušaju da
nešto saopšti o svom razumevanju stvarnosti i
načina na koji vidimo ili stvaramo. Celokupna
umetnička produkcija XX veka proširuje umetničko
delo u umetnički izraz i ulazi u sam život, pretvarajući ga u koncept umetnosti. Umetničko delo se više ne
oslanja samo na statičnost. Oko, kao osnovno čulo,
koje apsorbuje vizuelnu umetnost, koja dolazi iz oka
i obraća se oku, na ovom području biva dovedeno u
pitanje, s obzirom na njegovu dosadašnju ulogu u
samoj spoznaji sveta i doživljaju umetničkog dela.
Oko prestaje da gleda svet kao gotovu činjenicu.
Nestanak prepoznavanja vidljivog sveta, odnosno
nestanak mimezisa u slikarstvu XX veka, prelomni je događaj koji definitivno pravi razliku između
slikarstva XX veka i slikarstva koje možemo nazvati tradicionalnim, tj. prethodnog slikarstva. Avangarda s početka XX veka promoviše ne samo novi
način slikanja, već i novu koncepciju i bît umetnosti, oslanjajući se na ono spoznajno kao istinsko u
umetnosti.
Bazična postavka koju je postavila avangarda XX
veka rezultat je romantičarske krize XIX veka, impresionizma i postimpresionizma. Zahtev za stvarnom
autonomijom umetnosti manifestuje se u stvaranju
čistih formi. U osnovi shvatanja umetnosti Nadežde
Čačinović stoji sledeće: Umjetnost vas neće nahraniti, ali ne mora se opravdavati, jer je u direktnoj vezi
sa transcedencijom, sa čistim formama (i tu dolazi do
pojmovno-praktičnog poklapanja). Retorika čistoće
se poziva na višu zbilju, pa manifesti i poruke, koje
su dio proizvodnje umjetnosti u XX stoljeću, govore o
hrabroj manjini koja prolazi stupnjeve objave i dolazi
do apslolutne istine.4
4 Čačinović, Nadežda, Zagonetka umjetnosti, Demetra, Zagreb, 2003,
str. 12.
The loss of linear perspective in art during the
nineteenth century, its gradual disappearance in
the events related to the avant-garde3 of the
twentieth century and the emergence of conceptual art during the second half of the twentieth
century suggests a crisis in art theory and the
scientific-cultural model of interpretation, in an
attempt to communicate something about its
understanding of reality and the way we see
or create. The entire artistic production of the
twentieth century expanded artwork into an artistic expression and entered life itself, turning it into
a concept of art. The artwork is no longer relying
just on static quality. The eye, as a basic sense that
absorbs visual art which comes from the eye and
speaks to the eye, is questioned in this area given
its previous role in the very comprehension of
the world and experience of the artwork. The eye
ceases looking at the world as a settled fact.
The disappearance of the recognition of the visible world, that is, the disappearance of mimesis in
the twentieth century painting is the crucial event
that definitely makes a distinction between the
twentieth century painting and the art of painting
that could be called traditional, i.e. the earlier art of
painting. The early twentieth century avant-garde
promotes not only a new way of painting but also
a new concept and essence of art, inclining to the
cognitive as the genuine in art.
3 Avant-garde poetics are presented as models of the privileged cognition of reality and as moments of destruction of the hierarchical structure
of the individual and the society, Vattimo Gianni, The End of Modernity,
Bratstvo-jedinstvo, Novi Sad, 1991, p.55
BANJALUKA 67
Na takvim temeljima savremena umetnost bazira
svoj napredak, čime se ona shvata kao događanje sveta, a ne kao (dotadašnje) prikazivanje. Ovakvo shvatanje samo konstituisanje umetničkog dela poima
kao umetničko delo, a ne samo njenu proizvodnju,
čime ono postaje bitan činilac umetničkog procesa.
Stanje koje je opisano najviše odgovara onome što
Iv Mišo (Y. Michaud) naziva plinovitom umetnošću,
i svoje mesto nalazi u mešanju kultura. Umetnost
tako postaje etar života i, prelazeći u gasovito stanje, ulazi u sve njegove pore.
Umetnost se, dakle, sabrala i razumela u sveopštoj
estetizaciji stvarnosti, te je potrebno prepoznati je
kao posebnu sferu stvarnosti koja se istovremeno
razlikuje od te iste stvarnosti. Problemi koji proizlaze iz takvog shvatanja jesu upravo konfliktna stvarnost same umetnosti. Pitanje koje se nameće je
sledeće: da li je umetnost u predmetu koji utelotvoljuje ideju, ili je u samoj ideji? Umetnička dela
nemaju onu poznatu referencu samorazumljivosti
prikaza stvarnosti, nego teže da proizvedu posebna
iskustva, preispitujući pri tom sebe i svoju funkciju,
čime zapravo zadržavaju distancu od stvarnosti.
Kada govorimo o radovima Borjane Mrđe, Radenka
Milaka i Miodraga Manojlovića, vidimo da se njihovi
radovi baziraju na ispitivanju subjekta, pokušaju da
se na adekvatan način objasni njegova uloga u datom sistemu vrednosti. Možemo reći da je jedan od
zadataka umetnika danas, razvitak kritičkog diskursa bez podudarnosti, kojim bi se potkrepljivali pojmovi koji su danas aktuelni u projektnim izložbama
koje traže samo odgovor na key words. Ono što se
naziva fundamentalno unutar umetnosti jeste
događaj, koji se ne može tumačiti putem key words
sistema. Takvim pristupom i posetilac je prinuđen
BANJALUKA 68
The basic situation set by the twentieth century
avant-garde is the result of the crisis of the nineteenth century Romanticism, Impressionism
and Post-Impressionism. The demand for actual
autonomy of art is manifested in the creation of
pure forms. In the essence of understanding the
art by Nadezda Cacinovic is the following: “Art will
not feed you but it does not have to justify itself
because it is directly related to transcendence,
pure forms (and here we come to a conceptual and
practical overlap). The rhetoric of purity refers to
a higher reality so that manifestos and messages
that are part of the art production in the twentieth
century, speak of the brave minority that passes
through degrees of revelation and achieves the
absolute truth.”4
Contemporary art bases its progress on such foundations, thus being perceived as the happening of
the world and not as the (former) presentation.
This perception conceives the very constitution of
an artwork as an artwork and not just its production,
whereby it becomes an important factor in the
artistic process. The described condition fits the
best in with what Y. Michaud calls gaseous art and
finds its place in the mixing of cultures. Thus art
becomes the ether of life and by transforming into
a gaseous state it enters all its pores.
So, art collected and understood itself in the omnipresent aestheticization of reality, so it is necessary
to recognize it as a separate sphere of reality that is,
at the same time, different from that same reality.
Problems arising from such perceptions are exactly
the conflicting reality of art itself.
4 Čačinović, Nadežda, Zagonetka umjetnosti (The Riddle of Art), Demetra, Zagreb, 2003, p. 12
da se u zamenu za ležerno centralno mesto, ili
središte koje više ne postoji, pozabavi novonastalim sistemom koji poništava alegoriju, naraciju ili
izobličavajuće ogledalo parodije, gde humor razbija dotadašnje stabilne sisteme vrednosti. Takvo
polje delovanja traži jednu vrstu artikulacije, koje
je Said (Edward Said) nazvao praznim prostorima,
između stvari, reči, predstave.5
U radovima Borjane Mrđe možete uvideti odsustvo subjekta (Umetnice na delu) i samu formu odeće
koju je do nedavno neka od ličnosti nosila (Dekorativna sopstva). Ta odeća nije izgubljena, kao u priči
o Ćing, već nam prikazuje određene stereotipe koje
se pojavljuju u našem okruženju. Stereotipi koji su
veoma vidljivi i koji nam jasno prikazuju stanje, kao
i trenutak u kojem se subjekt nalazi (da li je u pitanju uniformisanost ili jedna vrsta opuštenosti koja je
vidna u noćnim trenucima). Sa druge strane u radu
Nezavršene priče Radenka Milaka, imamo jedno revnosno ponavljanje iste sekvence koja je izvučena
iz filmskog jezika. Ako govorimo o filmu, svaki kadar
je brižljivo biran i vodilo se računa da ima svoje mesto u daljem razvijanju filmske priče. Ta filmska priča
je izbačena iz Milakovog rada, umesto nje se pojavljuje simulacija koja se ponavlja. Takvim načinom
ponavljanja kadar gubi smisao koji je imao u filmskom jeziku, ali u vizuelnom predstavljanju dobija
drugačiju konotaciju. Tu ne možemo govoriti o kopiranju jednog te istog kadra, već imamo pojavu simulakruma. Ovde imamo preispitivanje umetnosti
reprezentacije i jedan veliki zaokret ka simulaciji – ka
jednoj serijskoj proizvodnji slika (akvarela, u slučaju
Milaka) čije su veze sa originalom (kao i sa referencom na jedan od filmova), veoma oslabljene. Kada
se govori o radovima Miodraga Manojlovića uvek
5 Videti više u Edward Said, Abecedarium culturae: structuralism, absence, writing, TriQuarterly, 1971., p. 33-71
The question that arises is the following: Is art in
the object which embodies the idea or is it in the
very idea? Artworks do not have that well-known
reference to self-intelligibility of presenting reality,
but they tend to produce special experiences,
thereby questioning themselves and their function
while actually keeping a distance from reality.
When we talk about the works by Borjana Mrdja,
Radenko Milak and Miodrag Manojlovic we see
that their works are based on examining the
subject, trying to adequately explain its role in
a given system of values. We can say that one of
the tasks of today’s artists is the development of
critical discourse with no coincidence that could
support terms that are relevant today in project
exhibitions which just require a response to the
key words. What is called fundamental within art
is the event that cannot be explained by the key
words system. With this approach, in exchange for
a leisurely central location or hub that does not exist
any more, the viewer is also forced to deal with the
new system which annuls allegory, narrative or the
distorting mirror of parody, where humour crashes
the previous stable systems of value. This field of
action seeks a kind of articulation which Edward
Said called the empty spaces between things, words,
idea.5
In the works by Borjana Mrdja one can perceive
the absence of subject (Artists at Work) and the
very form of the clothing that was until recently
worn by some of the persons (Decorative Selves).
That clothing is not lost, as in the story about Qing,
but it shows us some stereotypes that occur in our
surroundings.
5 See more in: Edward Said, Abecedarium culturae: structuralism,
absence, writing, TriQuarterly, 1971, p. 33-71
BANJALUKA 69
pomislim na reči Ernesta Renana (Ernest Renan) koji
kaže: Kada razmišljam imam utisak da sam autor
dijaloga između dve hemisfere moga mozga. Danas
tu definiciju psiholozi ne bi dobro prihvatili, ali je
to podvajanje veoma važno u trenutku stvaranja i
pokretanja događaja. To se jasno može primeniti na
Manojlovićeve radove, pošto se veoma jasno vidi
linija razmišljanja koja je dovela do kulminacije i
izvođenja serije crteža, koji su započeti kroz ciklus
Storyboard, ali danas imaju svoju stvarnost koja nas
donekle i plaši. To je veoma značajna transformacija
koja posetiocu stvara totalno drugačije okruženje.
Kada govorim o okruženju pre svega imam na
umu gledanje Manojlovićevih crteža koji posetioca postavljaju pred mnoge probleme. Osim što se
može uvideti sam tok razmišljanja, vi polako bivate uvučeni u njegov način razmišljanja i vaše misli
bivaju pomešane. Drugim rečima, vaše misli bivaju
misli drugog. To ne bi bilo toliko čudno kada bi o
tome razmišljali kao o mislima drugog, ali polako
počinjete da mislite kao da su to vaše misli. Tu nam
može pomoći i Didro (Denis Diderot), rekavši: Moje
su misli moje bludnice. Drugim rečima, vi možete
razmišljati o Manojlovićem radovima kao o svojim,
ali u stvarnosti, oni ipak ostaju samo autorove misli.
Kod Slobodana Vidovića možete primetiti bazično
bavljenje problemom slike, koja se u poslednjih 50
godina dosta promenila. Ne traži se neka određena
simbolika, niti potraga za novim remek-delom, kao
što je do tada bio slučaj, već se pokušava snaći u vremenu gde umetnost nije više na vrhu simboličkog
sistema kulture, već biva samo jedan segment takvog sistema. Prešli smo iz jednog romantičarskog
sistema u sasvim drugačiji multikulturalni svet, postkolonijalni, potrošački, produktivistički i omasovljen gde se Velika umetnost istrošila. Kada se nalazite na raskrsnici na kojoj se govori o raskidima,
BANJALUKA 70
Those are highly visible stereotypes that clearly
show us the condition as well as the moment in
which the subject is situated (whether it is uniformity
or a kind of relaxation that is visible at night time).
On the other hand, in the work Unfinished Stories
by Radenko Milak we observe a diligent repeating
of the same sequence that is taken out of the film
language. If we talk about the movie, each cadre
is carefully chosen and it was taken into account
that it has its place in the further development
of the movie’s story. That movie story is cut out
from Milak’s work and instead of it there appears
a simulation which is repeated. In such repeating
the cadre loses the meaning it had in the film
language but in the visual presentation it obtains
a different connotation. Here we cannot speak
about copying once and again the same cadre but
we have the appearance of simulacrum. Here we
have a reconsideration of the art of representation
and a major shift towards simulation - towards a
mass-production of paintings (watercolours, in the
case of Milak) where the links to the original (as
well as with the reference to one of the movies) are
exceptionally weakened. When it comes to the work
by Miodrag Manojlovic I always think of Ernest
Renan saying: When I think I have the impression
that I am the author of the dialogue between the two
hemispheres of my brain. Today, this definition would
not be well accepted by psychologists but that
separation is very important at the moment of the
creation and initiation of the event. This can clearly
be applied to Manojlovic’s works since a very clear
line of thinking can be seen – a line that led to the
culmination and performing of a series of drawings
initiated through the series Storyboard which today have their own reality that somewhat scares us.
This is a very significant transformation that creates
a totally different surrounding for the viewer.
krajevima, napredovanjima, presudnim delima, kao
i kada uviđate drugu krajnost iskustva koja prate
modernistički sled oblika i tendecija, vaša uloga
umetnika biva veoma upitna. Drugim rečima, dobija
svoj pravi smisao tek u okvirima susreta i u mešanju
sa novim kulturama. U novonastalom umetničkom
sistemu Vidović uspeva da svoj rad Chevy 6000 ccm
poveže sa prethodnom minimalističkom strujom
ali u novom obliku. Uspeva da izbegne spektakularnost koja je svojstvena slici, kao i da se odupre simulakralnim slikama a usput, biva ubedljiv u svom
naglasku na fizičku prisutnost ovde i sada. Vidović
nastoji da postigne Džejmisonovo (Fredric Jameson) konačno pomračenje dubine, gde insistira na
spoljašnosti, odnosno površnosti savremenih reprezentacija i dostignutog iskustva.
Drugačiju misao koja nam više govori o direktnom
savlađivanju prostora, kao i njegovom fizičkom zauzimanju možemo videti na radu Operacija The New
Gallery (Calgary) Mladena Miljanovića. Rad je proistekao iz ciklusa Napadi, gde umetnik ciljano koristi vojnu strategiju u smislu definitvnog zauzimanja
(okupiranja) umetničkih prostora. Taktika i manevri koji su nam poznati još iz detinjstva dobijaju
drugačije značenje kada se postave u kontekst galerijskog prostora. Umesto zemaljskih karti sa ucrtanim poljem mogućih dejstava i trenutnih zaposednutih ciljeva, ispred nas imamo plan umetničkih
institucija koje se čine neosvojive za ovdašnji
umetnički korpus. Miljanović voli da se poigrava
sa umetničkim iskustvom, sa svim onim što danas
okružuje i čini savremenu scenu. Jednu scenu za
kojom pojedinac žudi, gde je sve pod kontrolom,
svedeno na ekcese koji samo pospešuju novonastalo lepo iskustvo. Svet u kome sve bestežinski klizi.
Taj hedonizam biva mesto podražaja i podsticaja za
Miljanovića. Drugim rečima vreme umetnosti mora
When I talk about the surrounding I primarily have
in mind the watching of Manojlovic’s drawings
which place the viewer before many problems.
Apart from perceiving the course of thinking, you
are slowly drawn into his way of thinking and
your thoughts become mixed up. In other words,
your thoughts become someone else’s thoughts.
This would not be so strange if we thought about
this as about someone else’s thoughts but gradually you start thinking as if those were your own
thoughts. Here Denis Diderot can help us when
saying: My ideas are my whores. In other words,
you can think about Manojlovic’s works as of your
own but in reality they nonetheless remain just the
author’s thoughts.
With Slobodan Vidovic you can notice a basic
dealing with the problem of painting which
has changed significantly during the last fifty
years. A particular symbolism or search for a new
masterpiece is not required, as it had been the
case up to then, but an attempt is made to get by
in a time where art is no longer at the top of the
symbolic system of culture and is only a part of such
a system. We have passed from one romanticised system to a completely different multicultural
world, post-colonial, consumerist, producible and
generalized where Great Art has become worn out.
When you find yourself at a crossroads where it is
about break-ups, ends, promotions, crucial works
and when you comprehend the other extreme of
experiences that follow the modernist sequence
of forms and tendencies, then your role as an artist
becomes highly questionable. In other words, it
acquires its true meaning only in terms of meeting
and mixing with new cultures. In the emerging art
system Vidovic manages to connect his work Chevy
6000 cc with the previous minimalist stream, but in
BANJALUKA 71
biti vreme događaja. Operacija The New Gallery (Calgary) jedan je od tih događaja. Jedna vrsta igre (ratne
ili umetničke) koja u sebi sadrži niz igrača, kao i niz
odluka koje moraju da se donesu u skladu sa igrom.
Dolazi do određenih situacija, posledica novonastalih odluka koje ne moraju da budu jasno prikazive...
Kada se pogleda rad, vidi se da je klasifikovan kao
većina igara na ploči, da je u pitanju igra potpune
informacije. Igra ima svoj smer i određeni završetak
koji može biti pobeda ili poraz. Sve zavisi od daljih
poteza igrača, umetnika i institucije. Celi postupak
jeste prelazak na horizontalan6 način rada, izabere
se mesto, prouči se data kultura (započne se projekat), završi se projekat i krene se na novi borbeni
položaj čime se ciklus nanovo uspostavlja.
Kada se govori o igri, pobedi i porazu, slavi i smrti
pojavljuje se rad Ispred Asterionove kuće Nenada
Maleševića. Naslanjajući se na kratku priču Asterionova kuća od Borhesa (Luis Borges) Malešević na
svojim fotografijama zadržava jedan trenutak života, pokušavajući time da predupredi smrt koja je jedina neumitna a koja nas na kraju i dočeka. Malešević
želi da bude svedok nemogućnosti čovekove promene, da bilo šta učini za sebe. Fotografije su zabeleška
jednog opskurnog pejzaža dela šume koju deli tok
reke Neretve. Mesto susreta ljudskog pokušaja menjanja prirodnog okruženja postavljanjem ratnog
bunkera vrhovnog štaba JNA, nekadašnje vojske
SFRJ. Danas je to mesto devastirano i upotrebljava se u umetničke svrhe. Mesto koje kao da govori rečenicu iz priče: Istina je da ne izlazim iz kuće, ali
je istina i to da su sva moja vrata (kojih ima bezbroj)
danonoćno otvorena ljudima, a i životinjama.
6 Horizontalan i vertikalan način je postavio Hal Foster u svojoj knjizi
Povratak realnog. Horizantalan način jeste sihronično kretanje od jednog do drugog društvenog pitanja, dok je vertikalan način dijahronično
uključivanje u disciplinarne forme datog žanra ili medija.
BANJALUKA 72
a new form. He manages to avoid the spectacular
that is inherent to the painting, as well as to resist the
simulacrum paintings and to be persuasive, along
the way, in his emphasis on the physical presence of
here and now. Vidovic strives to achieve Jameson’s
eclipse, finally, of all depth where he insists on the
exterior, i.e. the superficiality of contemporary
representations and experiences achieved.
A different idea which tells us more about the direct
mastering of space, as well as about its physical
takeover can be seen in the work Operation The
New Gallery (Calgary) by Mladen Miljanovic. The
work resulted from the series Attacks, in which
the artist deliberately uses military strategy in the
sense of a definitive occupancy (occupying) of art
spaces. The tactics and manoeuvres that are known
to us since childhood receive a different meaning
when placed in the context of the gallery space.
Instead of terrestrial maps with a charted field of
possible actions and currently occupied targets,
in front of us we have a plan of art institutions
that seem unconquerable for the local artistic
corpus. Miljanovic likes to play around with the
artistic experience, with all that surrounds and
makes the contemporary scene today. It is a scene
that the individual yearns for, where everything is
under control and reduced to excesses that only
enhance the newly created nice experience. It is a
world in which everything is gliding weightlessly.
That hedonism becomes a place of stimulus and
impetus for Miljanovic. In other words, the time of
art has to be the time of the event. Operation The
New Gallery (Calgary) is one of those events. It is a
kind of a game (war or art game) which contains a
number of players, as well as a number of decisions
that must be made in accordance with the game.
Neka uđe kome se prohtije.7 Takvo mesto je nekako
zasnovano na fikciji i prividu. Možda ne može da
bude istina stvarnosti, kao što i sam Borhes stvarnost vidi kao metaforu, na kojoj gradi jedan svoj
sasvim nov, neviđen svet. Slično kao i nekadašnja
SFRJ, koja je u svim novonastalim zemljama ostala
samo kao imaginacija, mesto kojeg nema i kojeg
nikada nije ni bilo. Malešević nam preko svog rada
isporučuje jednu dozu dokumentovane stvarnosti,
onu koju je veoma teško razumeti i u nju poverovati.
Veso Sovilj, takođe, ispituje prostor koji je negacija, prostor koji simbolički pravi uvod u smrt ili
određuje liniju života. U radovima Balans i Opasnost
može se primetiti kritički osvrt na tradicionalni
oblik izražavanja, gde se potire gest i boja na ravnoj
površini. Soviljeva Oda slikarstvu jeste crni flor, koji
nas direktno uvodi u njegov postupak razgraničenja
sa prošlošću. Kao da se može čuti povik: Štafelajska
umetnost umire sa građanskom opcijom, jedna od
poznatijih parola koja je uzvikivana za vreme ruske
avangarde. Sovilj nastavlja da svojim akcijama potire prošlost, u ovom slučaju slikara, jedan tužni simbol intelektualnog miljea u vremenu večne tranzicije. Sa druge strane Sovilj pretpostavlja da je druga
strana, profesor (kao i njegove kolege) taj radosni
simbol uspeha. Obe uloge se mogu naći kod Sovilja, sa jedne strane se nalazi Sovilj slikar-umetnik,
dok sa druge strane jeste Sovilj profesor. Umetnik
pokušava da u svojim akcijama, kao i instalacijama
balansira i da se održi u životu. A Balans je to važno
mesto, gde se pojavljuje tren, jer tren samo traje a
sve ostalo očigledno nebitno je, ...nestaje. U tom trenu je sadržina onoga što je danas umetnost. Drugim rečima, sa jedne strane imamo umetnost kao
7 Borhes H., Kratke priče, Asterionova kuća, Reč i misao, Beograd,
1979.
There occur certain situations and consequences
of newly created decisions that do not have to be
clearly displayable ... When you look at the work,
you can see it is classified as most board games
and that it is a game of complete information.
The game has its direction and a specific ending
that can be victory or defeat. It all depends on the
further moves of the players, artists and institutions.
The whole procedure consists in a transit to the
horizontal6 mode; a place is chosen, the given culture is explored (the project is started), the project
is completed and one moves over to a new fighting
position which re-establishes the cycle.
When talking about game, victory and defeat,
about glory and death there appears the work In
Front of the House of Asterion by Nenad Malesevic.
Relying on the short story by Jorge Luis Borges The
House of Asterion Malesevic retains a moment of
life on his photographs, attempting thus to prevent
death which is the only inevitable thing and
which eventually welcomes us. Malesevic wants to
witness the inability of human change and doing
anything for themselves. The photographs are a
note on an obscure landscape of a part of the forest
that is divided by the river Neretva. It is a meeting
place of the human attempt to change the natural
environment by placing the wartime bunker of
the Yugoslav People’s Army Supreme Headquarters,
the former Army of Yugoslavia. Today the place is
devastated and is used for artistic purposes. The
place seems to be saying the sentence from the
story: It is true that I do not leave my house, but it
is also true that its doors (which are innumerable)
are open day and night to man and animal alike.
6 The horizontal and vertical mode was set up by Hal Foster in his
book The Return of the Real. The horizontal mode is a synchronic
move from one to another social issue, while the vertical mode is a
diachronic inclusion into disciplinary forms of a given genre or media.
BANJALUKA 73
deo kulturnog sektora estetske ornamentike, dok sa
druge strane postoji subliminarni način društvene
egzistencije čoveka. Sovilj nas upozorava na Opasnost, gde smo svedoci da se kultura preobražava
u biopolitički sklop koji čine genetska tehnologija,
globalni kapitalizam i spektakl vizuelnog sveta.
U trenutku kada sve može biti proglašeno za
umetničko delo, ukoliko umetnost nije puko ništavilo i prevara, mada ponekad i to jeste, još uvek preostaje njena uloga ukrasa, označiti ili prikazati identitet (kao u priči o Ćing).
Ninoslav Kovačević se poigrava za starim i toliko
uzdizanim obeležijma: intelektualnim, političkim,
verskim, formalnim i simboličkim. Govoreći o današnjoj umetnosti u njoj preostaje iskustvo i ta su
iskustva poriv za nova viđenja. U svojim instalacijama Ornament i Instalacija sa žuto crnim čašama, koje
su nastale skupljanjem plastičnih čaša sa određenih
slava, izložbi, proslava8, vidi se dobro promišljena
upotreba potrošačkog načina razmišljanja i stvaranja suvišnog, nečeg što nema uporište u trajnom
ili svetom i profanom. Drugim rečima, Kovačevićeve
instalacije proizilaze iz dva stanja: stanja manjka i
stanja viška.9 Instalacija je dovoljna da samo otvori prostor u kome autor donekle iščezava. On biva
prisutan samo kroz osobenost svog soptvenog nestanka. Kao što su i čaše, koje su sastavni deo celokupne instalacije, u nekim ranijim izložbama bivale izgažene i devastirane, poništene nakon akcije.
Kovačević čini toliko da pronalazi tačku u kojoj se
život – akcija odigrava (trenutak pred gažanje čaša
i uništavanje celokupnosti instalacije), što se može
povezati sa jednim sukobom koji se dogodio u XIII
8 Videti više u http://zanavukicevic.blogspot.com/2014_05_01_archive.html
9 Objekt je ili poništen, povučen iz Prisustva vlastitim samouništenjem,
ili je isteran iz polja svog pojavljivanja. Videti više u Badiou Alain, Manifest za filozofiju, Naklada Jesenski i Turk, Zagreb, 2001. str. 49-59.
BANJALUKA 74
Anyone who wishes may enter.7 This kind of place
is somehow based on fiction and illusion. Maybe
it cannot be a true reality, as Borges himself sees
reality as a metaphor which he uses for building a
brand new, unseen world of his own. This is much
like former Yugoslavia, which has remained only in
the imagination in all the newly created countries,
as a place that does not exist and that has never
existed. Through his work Malesevic delivers us
a dose of documented reality, one which is very
difficult to understand and believe in.
Veso Sovilj also examines the space which is the
negation, the space which symbolically makes a
prologue to death or determines the line of life.
In the works Balance and Danger we can notice a
critical view of the traditional form of expression,
where gesture and colour on a flat surface are
cancelled. Sovilj’s work Ode to Painting is a black
ribbon which directly introduces us to his method
of demarcation with the past. It is as if a scream
can be heard: The art of easel painting is dying with
the civil option, one of the more famous slogans
chanted during the Russian avant-garde. Sovilj
continues to wipe out the past through his actions,
in this case, his past as a painter, a sad symbol of the
intellectual milieu in the time of eternal transition.
On the other hand, Sovilj assumes that the other
side, the professor (and his colleagues), is this joyful
symbol of success. Both roles can be found in Sovilj
- there is Sovilj the painter-artist on one side while
on the other side is Sovilj the professor. Through his
actions and installations the artist is attempting to
make a balance and keep up with life. Balance is
that important place where the moment appears,
because a moment just lasts and everything else is
7 Borges J., Short Stories, The House of Asterion, Reč i misao, Beograd,
1979
veku između Rimske kurije i franjevačkog reda,
gde se uspostavio teološki kanon potrošnje kao
nemogućnosti upotrebe. Sa jedne strane franjevci
proglašavaju mogućnost upotrebe (usus facti upotreba de facto), sa druge strane Jovan XXII izdaje
Ad conditorem canonum koji govori o stvarima kao
predmetima potrošnje, gde je striktno odvojena
upotreba od svojine, jer se ona u potpunosti rešava
u činu potrošnje, odnosno u uništenju tih stvari
(abusus).10 Zanimljivo je kako Jovan XXII postavlja
temelje paradigme nemogućnosti upotrebe koja je
svoj vrhunac dostigla u sadašnjem vremenu: Sam
čin upotrebe ne postoji u prirodi ni pre ni posle njegovog izvršenja. Potrošnja je, naime, samim činom
upražnjavanja uvek već prošlost ili budućnost. I ne
može se reći da, kao takva, postoji u prirodi, već samo
u sećanju ili očekivanju. Stoga ona ne može da se ima
osim u trenutku svog nestanka.
Nemogućnost upotrebe je svoje mesto našla unutar Muzeja. Mesto gde se čuva istinito i vredno,
gde umetnost poseduje i iskazuje svoju vrednost.
Sa druge strane imamo potrošače koji su nesrećni,
ne samo zbog činjenice da konzumiraju predmete
koji su u sebe ugradili sopstvenu neupotrebljivost,
već zbog toga, što veruju da koriste svoje pravo
svojine nad njima, jer su postali nesposobni da ih
profanišu, kako kaže Agamben (Giorgio Agamben).
Koristeći stvari, mi ih trošimo. Drugim rečima, ovde
je imaginacija najjača gde se nešto iščekuje, a sve
slabija kada nešto počnemo da koristimo. Možemo
primetiti da potrošnja i proizvodnja umetnosti navode sve više na kretanje ljudi, novca i stvaraju podsticaj.
10 Potrošnja koja nužno uništava stvar, nije ništa drugo do nemogućnost ili negacija stvari, koja pretpostavlja da supstancija stvari ostaje netaknuta (salva rei substantia). Pogledati više u Agamben Đorđo,
Profanacije, Rende, Beograd, 2010, str. 83-109.
obviously irrelevant ... and disappearing.
That moment holds the content of what Art today
is. In other words, on one side we have art as part
of the cultural sector of aesthetic ornamentation,
while on the other side there is a subliminal way
of the social existence of man. Sovilj warns us
of the Danger, where we witness that culture is
transforming into a bio-political set consisting
of genetic technology, global capitalism and the
spectacle of the visual world.
At a time when everything can be declared a
work of art, unless art is not mere nothingness
and deception, although sometimes it is, there
still remains its role of an ornament, marking or
showing identity (as in the story about Qing).
Ninoslav Kovacevic is playing about with the old
and so often exalted features: intellectual, political,
religious, formal and symbolic. Speaking about
today’s art there remains experience in it and those
experiences are an impulse for new visions. In his
installations Ornament and Installation with YellowBlack Glasses, which were created by collecting
plastic glasses left over from certain celebrations,
exhibitions, parties8 we see a well thought out use
of the consumerist way of thinking and creating
the redundant, something that has no basis in
the permanent or sacred and profane. In other
words, Kovacevic’s installations come up from two
conditions: the condition of deficiency and the
condition of excess.9 The installation is sufficient
to only open up the space in which the author is
somewhat disappearing. He is present only through
the feature of his own disappearance.
8 See more in: http://zanavukicevic.blogspot.com/2014_05_01_archive.html
9 The object is either cancelled, withdrawn from the Presence by its
self-destruction or expelled from the field of its appearance. See more
in: Badiou Alain, Manifesto for Philosophy, Naklada Jesenski i Turk, Zagreb, 2001, p. 49-59
BANJALUKA 75
One uspevaju da pokazuju identitete, kao i da prave
nove susrete.
Primetno je da se nalazimo na pragu novog doba
gde su u centru dešavanja transakcija i identifikacija
interakcija, gde polje kulture polako dobija svoj zamajac i vidljiv uzlet. Svedoci smo da postoji tendecija da je potrebno još više proizvoditi umetnost i da
je potrebno graditi još više muzeja.
Više niko ne sme biti sputan i skrenut, već mora
računati na poglede drugih, što ostavlja trag na sve
nas i što nas sve više pogađa.
Savremena globalistička dimenzija razmene, u kojoj se već nalazimo, svoju legitimnost i vidljivost dobija samo u traženju lokalnih identiteta, kao i ovih
novih izgrađenih, na brzinu stvorenih. Iz svega ovoga jedino što može da sledi jeste tenzija, napetost,
ponekad gruba i žestoka, između zahtevanja identiteta i činioca proizvodnje. U jednom trenutku nam
se sve može činiti čudnim i nečitljivim (kao priča o
Ćing), ali kako kaže Agamben: umetnik biva ono
nečitljivo što nam omogućava novo čitanje.
This also occurred with the glasses, an integral
part of the entire installation, which were at some
previous exhibitions, crushed and destroyed, cancelled after the action. Kovacevic does so much
as to find the point in which life - action takes
place (the moment before stepping on glasses
and destructing the integrity of the installation),
which can be linked to a conflict that took place in
the thirteenth century between the Roman Curia
and the Franciscan order, where the theological
canon of consumption as the impossibility of use
was established. On one hand the Franciscans
proclaimed the possibility of use (usus facti, de
facto use) and on the other hand John XXII issued
Ad Conditorem Canonum which discusses things
as objects of consumption, where use is strictly
separated from property, because it is completely
solved in the act of consumption, i.e. in the process
of destruction of these things (abusus).10 It is
interesting how John XXII sets the foundations of
the paradigm of the impossibility of use, which
peaked in the present time: The very act of use
itself exists in nature neither before being exercised
nor while exercised nor after being exercised. In fact,
consumption, even in the act in which it is exercised,
is always in the past or the future and, as such, cannot
be said to exist in nature, but only in memory or in
anticipation. Therefore, it cannot be had but in the
instant of its disappearance. The impossibility of
use has found its place inside the Museum. It is the
place where the truthful and valuable is kept and
where art possesses and expresses its value.
10 Consumption which inevitably destroys the thing is nothing but
the inability or negation of things which assumes that the substance
of things remains intact (salva rei substantia). See more in: Agamben
Giorgio, Profanations, Rende, Beograd, 2010, p. 83-109
BANJALUKA 76
On the other hand, we have consumers who are
unhappy and it is not only because they consume
objects that have incorporated within themselves
their own inability to be used, but because they
believe they are exercising their right to property
on these objects, because they have become incapable of profaning them, according to Giorgio
Agamben. By using things we consume them. In
other words, the imagination is at its strongest
where something is awaited for and weaker when
we start using something.
We can note that the consumption and production
of art encourage bigger movement of people,
money and create stimulus.
They succeed in showing identities as well as
creating new encounters. It is obvious that we are
on the threshold of a new era where transaction
and identification interactions are in the centre of
events, where the field of culture is gradually getting its impetus and visible ascent. We are witnesses to a tendency for a need of producing more
art and building more museums. No one should be
inhibited and diverted any more but must count
on the views of others, which then leaves a mark
on all of us and affects us all the more. The modern
globalist dimension of exchange, which is already
on, obtains its legitimacy and visibility only through
the search for local identities, as well as for the newly
built ones which are hastily created. The only thing
that can follow from all this is tension, sometimes
rough and tough, between requiring identity and
the factors of production. At one point it might all
seem strange and unreadable (like the story about
Qing) but as Agamben says: the artist becomes the
unreadable which allows us a new reading.
Translation by Darja Marija Vuletic
BANJALUKA 77
Slobodan Vidović
Rođen u Bosanskoj Gradišci 1974. godine.
Diplomirao na Akademiji umjetnosti u Banjaluci
2002. godine. Trenutno završava magistarski studij
(odsjek slikarstvo) na Akademiji umjetnosti u Banjaluci u klasi profesora Vese Sovilja.
Dobitnik je dvije nagrade. Izlagao na više samostalnih i grupnih izložbi i rezidencijalnih projekata u
zemlji, regionu, Evropi i Americi.
Živi i radi u Banjaluci kao urednik likovnog programa
u Kulturnom centru Banski dvor.
He was born in Bosanska Gradiska in 1974. He
graduated at the Academy of Arts in Banja Luka in
2002 where he is currently completing his master’s
degree at the Painting Department, in the class of
Professor Veso Sovilj. He has received two awards.
He had several solo and group exhibitions as well
as residential projects at home and in the region,
Europe and the USA. He lives and works in Banja
Luka as editor of the programme for fine arts at the
Cultural centre Banski dvor.
[email protected]
www.slobodanvidovic.com
Chevy 6000 ccm, 2014.
instalacija, kombinovana tehnika na platnu
installation, mixed technique on canvas
(3 x) 200 x 150 cm
BANJALUKA 78
BANJALUKA 79
Ninoslav Kovačević
Rođen 1988. godine u Sanskom Mostu.
Diplomirao na akademiji umjetnosti u Banjaluci
2011. godine, gdje trenutno završava master studije. Izlagao na više samostalnih i kolektivnih izložbi u
zemlji i inostranstvu. Nekoliko puta nagrađivan za
rad. Živi i radi u Banjaluci.
Born in 1988 in Sanski Most.
He graduated at the Academy of Arts in Banja Luka.
He had numerous solo and group exhibitions
at home and abroad.
Lives and works in Banja Luka.
[email protected]
Ornament, 2014.
Ornament, 2014
instalacija | installation
450 x 450 cm
BANJALUKA 80
SARAJEVO 7
Nenad Malešević
Rođen u Sarajevu 1981. godine.
Diplomirao je na Akademiji umjetnosti Univerziteta
u Banjaluci. Magistrirao na Interdisciplinarnim studijama Univerziteta umetnosti u Beogradu, grupa za
teoriju umetnosti i nove medije.
Živi i radi u Banjaluci i Beogradu.
Born in Sarajevo in 1981.
He graduated at the Academy of Arts (major in
graphics) in Banja Luka and obtained his M.A. degree at the University of Arts in Belgrade (Interdisciplinary studies of Theory of Art and Media).
Lives and works in Banja Luka and Belgrade.
[email protected]
Ispred Asterionove kuće, 2013.
In Front of the House of Asterion, 2013
fotografija | photography
(2 x ) 80 x 80 cm
BANJALUKA 82
Miodrag Manojlović
Rođen u Mrkonjić Gradu 1979. godine.
Diplomirao je na Akademiji umjetnosti Univerziteta
u Banjaluci. Magistrirao na Interdisciplinarnim studijama Univerziteta umetnosti u Beogradu, grupa
za scenski dizajn. Živi i radi u Banjaluci.
Born in Mrkonjić Grad in 1979.
Graduated at the Academy of Arts in Banja Luka and
obtained his M.A. degree at the University of Arts in
Belgrade (Interdisciplinary Studies of Stage Design).
Lives and works in Banja Luka.
[email protected]
www.miodragmanojlovic.com
Skica 006A, 2009 –
Sketch 006A, 2009 –
akrilik na papiru | acrylic on paper
21 x 14, 8 cm
BANJALUKA 84
Radenko Milak
Rođen u Travniku 1980. godine. Bavi se slikanjem,
crtežom i animacijom. Imao je više samostalnih i
grupnih izložbi širom EU. Živi i radi u Banjaluci.
Born in Travnik in 1980. He is mainly engaged in
the fields of painting, drawing and animation and
had numerous solo and group exhibitions across
Europe. Works and lives in Banja Luka.
[email protected]
www.radenko-milak.blogspot.com
Nezavršene priče, 2014. | Unfinished Stories, 2014
akvarel na papiru | watercolour on paper
35 x 44 cm
◄ Nezavršene priče, 2014. | Unfinished Stories, 2014
gif animacija | gif animation
BANJALUKA 87
Mladen Miljanović
Rođen u Zenici 1981. godine.
Diplomirao i magistrirao na Akademiji umjetnosti
Univerziteta u Banjaluci.
Radi kao docent na predmetima Intermedijalna
istraživanja i Teorija prostora, na Akademiji umjetnosti u Banjaluci. Živi i radi u Banjaluci.
Born in Zenica in 1981.
He graduated at the Academy of Arts in Banja Luka
and obtained his M.A. degree at the same Academy.
He is employed as assistant professor for the subjects Intermedia Explorations and Theory of Space
at the Academy of Arts in Banja Luka.
Lives and works in Banja Luka.
[email protected]
www.mladenmiljanovic.com
BANJALUKA 88
Operacija: The New Gallery-Calgary, 2007.
Operation: The New Gallery-Calgary, 2007
akrilik na platnu | acrylic on canvas
150 x 150 cm
SARAJEVO 7
Borjana Mrđa
Rođena u Banjaluci 1982. godine.
Diplomirala na Akademiji umjetnosti Univerziteta u
Banjaluci, gdje je i magistrirala 2010. godine.
Zaposlena je kao asistent na predmetima Slikanje
i Crtanje, na Akademiji umjetnosti Univerziteta u
Banjaluci. Živi i radi u Banjaluci.
Born in Banja Luka in 1982. She graduated and obtained her M.A. degree at the Academy of Arts in
Banja Luka where she is currently employed as assistant lecturer for the subjects Drawing and Painting. Works and lives in Banja Luka.
[email protected]
www.borjanamrdja.com
Dekorativna sopstva, 2014. | Decorative Selves, 2014
tuš i pero | Indian ink and pen
29 x 39 cm
◄ Umjetnice na delu, 2010. | Artists at Work, 2010
light box
41 x 61 x 15 cm
BANJALUKA 91
Veso Sovilj
Rođen 1954. u Zavolje, nedaleko od Ključa. Diplomirao na Fakultetu likovnih umetnosti u Beogradu
1981, u klasi Boška Karanovića. Član je ULUBiH i
ULIPURS. Dobitnik je nekoliko nagrada i plaketa.
Imao je deset samostalnih izložbi i više od dvadeset
grupnih u zemlji i inostranstvu. Radi kao profesor na
Akademiji umjetnosti Univerziteta u Banjaluci.
Born in 1954 in Zavolje, near Ključ. He graduated at
the Belgrade Academy of Fine Arts in 1981, in the
class of professor Boško Karanović. He is a member
of ULUBiH and ULIPURS. He received several awards
and certificates. He had ten solo and more than
twenty group exhibitions at home and abroad.
He works as professor at the Academy of Arts, University in Banja Luka.
Ravnoteža, 2014. | Balance, 2014
platno, metal, plastika, staklo
canvas, metal, plastic, glass
150 x 150 cm
BANJALUKA 92
Opasnost, 2014. | Danger, 2014
platno, ulje, plastika, guma, metal | canvas, oil, plastic, rubber, metal
(3 x) 150 x 100 cm
BANJALUKA 93
TREBINJE: Nada Arnaut | Igor Bošnjak
Nebojša Bumba | Miljan Vuković | Ratko Vučinić
Miloš Vučićević | Mirjana Kodžo | Marko Musović
Bogdan Radović | Bojana Tamindžija
Igor Bošnjak
Igor Bošnjak
Savremena umjetnost u kontekstu
Trebinja
Contemporary Art in the
Context of Trebinje
Možemo li govoriti uopšte o aktivnoj umjetničkoj
sceni u mjestu koje je geografski na samoj periferiji
teritorije jedne države i gradu koji jedva da ima
trideset pet hiljada stanovnika? Marginalizacija
samog grada u kontekstu entiteta kao i države je
evidentna, o tome svjedoče statistički podaci kojima se nećemo baviti ovdje. Postojanje akademije,
kao visokoobrazovne ustanove u takvom kontekstu je osvježavajuć, ali ne i dovoljan uslov. Sistem
umjetnosti koji generalno jedva i da postoji i funkcioniše u kontekstu BiH, takođe nije dovoljan
uslov. Kako se u globalnom kontekstu jedna urbana periferija sa provincijskim mentalitetom može
nametnuti ruralnom duhu i jednim palanačkim
pogledom na to kako bi umjetnost trebalo da
izgleda? Ako primjenimo psihogeografske metode
u procesu istraživanja shvatićemo da je to jedan
veoma kompleksan problem. Kolonijalni kao i postkolonijalni koncept bogatog, dominantnog, razvijenog sjevera te siromašnog, perifernog i zaostalog juga, takođe može biti od koristi kada
promišljamo ovakve suprotstavljene diskurse. Da
bismo se bavili ovakvim vrstama analiza trebalo
bi da imamo mnogo više prostora i vremena. Možemo li govoriti uopšte o aktivnoj umjetničkoj
sceni u gradu poput Trebinja? Mislim da možemo
iz razloga što o tome već ovdje na ovom mjestu i
pišem. Autori koji su pozvani da učestvuju na ovoj
izložbi jesu umjetnici čije lične poetike, angažman,
društveni status, pozicija, kritički stav, memorija,
obrazovanje, mišljenje, hodanje, pričanje, disanje
kod mene izazivaju poštovanje i divljenje u smislu
Can we possibly speak of an active art scene in a
place geographically located on the periphery of
a country, a town with the population of a mere
thirty-five thousand? Marginalization of the town
itself in the context of an entity and state is evident,
which is testified to by statistical data which will not
be discussed here. In such context, the existence of
an academy as an institution of higher education
is a refreshing but not sufficient condition. The art
system which hardly exists and operates in the
context of Bosnia and Herzegovina is not a sufficient condition either. How can an urban periphery
with provincial mentality in the global context
impose itself on the rural spirit with a provincial view on what art should look like? If we employ
psycho-geographical methods in the research process, we will understand that this is a very complex
problem. The colonial and post-colonial concept of
the dominant, rich and developed North and the
peripheral (marginal), poor and backward South
can also be of use when discussing these opposed
discourses. These kinds of analyses require much
more space and time. Can we possibly speak of
an active art scene in a town like Trebinje? I think
we cansince I am already writing about it here.
Artists invited to participate in this exhibition are
the ones whose personal poetics, engagement,
social status, position, critical stance, memory, education, opinion, walking, talking and breathing
inspire my respect and admiration in terms of their
continuation, completeness, incorruptibility and
courage. Such a selection is highly personal and
TREBINJE 96
njihovog trajanja, dovršenosti, zaokruženosti, nepotkupljivosti i hrabrosti. Ovakav izbor je veoma
ličan i subjektivan, a opet objektivan.
Slikarstvo Miljana Vukovića možemo da označimo
kao slikarstvo unutrašnje nužnosti, tj. manuelni
rad kao psihološko-individualna potreba autora.
Odnos savremenog čovjeka prema materiji, u
njenoj najizvornijoj pojmovnoj prisutnosti, danas
je sveden na mentalno-vizuelne predstave i nervne
senzacije koje nemaju za cilj da kod čovjeka probude potrebu za nekom dubljom duhovnom ili
manuelno-taktilnom prisnošću, analizom i osjećajnim proživljavanjem istog. Upravo iz tih razloga
važno je napomenuti odnos koji Vuković gradi
prema materiji, posebno prema pikturalnoj strukturi likovne ravni. Taktilnost monohrome mase
koja je očigledna, ima za cilj da postmodernog
čovjeka približi ili bolje reći „vrati“ materiji u onom
„njenom“ primordijalnom nivou. Slike kao slikarstvo
unutrašnje nužnosti ili molitve, kako autor voli da
ih nazove u neformalnom autopoetskom diskursu,
nagovještavaju suptilno energetsku likovnu površinu koja treperi i fluidno vibrira na svim stepenima
svoje refleksnosti. Energetska čvorišta koja snažno
pulsiraju dubinskim horizontom postižu efekte
likovno-kompozicione čvrstine koja nagovještava
visoka polja energije tj. ukazuje na puntktume sile
koji odražavaju plastičnost u smislu sabijenosti
forme. Obojena praznina ili, tačnije, praznina koja
boji, već je sila. Postapstraktni ekspresionisti, a među njima i Vuković, prikazuju prefinjene neprimjetne varijacije koje su ipak konstitutivni dijelovi
jednog percepta, bilo zato što su presječene ili
oivičene sa jedne strane obrubom, panoom druge
boje ili drugog tona, koji mijenjaju intenzitet u ravni
u zavisnosti od blizine ili udaljenosti, bilo zato što
prestavljaju gotove virtuelne linearne ili kružne
figure u različitim nijansama iste boje, bilo zato što
subjective, but at the same time objective.
Miljan Vuković’s painting can be defined as painting derived from the inner necessity, i.e. manual
labour as an individual psychological need of the
artist. The attitude of modern man towards matter
in its fundamental presence as a concept is reduced
today to mental-visual representations and nerve
sensations which are not intended to create the
need for a deeper spiritual or manual-tactile connection, analysis and emotional experience of the
same thing. For these reasons, it is important to
make reference to the attitude Vuković adopts
towards matter, especially towards pictorial structure of the visual plane. The obvious tactility of
the monochromatic mass is aimed at bringing
the post-modern man closer to the matter in its
primordial form, or rather ‘returning’ him to it.
Vuković’s paintings, as something derived from
the inner necessity or prayer, as the artist likes
to refer to them in an informal poetic discourse,
suggest a subtle visual energy surface shimmering
and vibrating fluidly at all levels of its reflexivity.
Energy hubs which strongly pulsate across the
horizon of the depth create the effects of a strong
visual composition suggesting high power field,
i.e. indicating the points of force which reflect
plasticity in the sense of compressed form. Coloured
or, more precisely, colouring emptiness, is already
a force. Post-abstract expressionists, including Vuković, depict subtle, invisible variations which are
nevertheless constituent parts of a percept, either
because they are cut or edged on one side with
a board of different colour or tone which varies
in intensity depending on whether it is close or
distant, or because they represent almost virtual
linear or circular figures in different shades of the
same colour, or because they are perforated or split;
and here we come to the problem of connection,
TREBINJE 97
su izbušene ili rascijepljene: i tu je riječ o problemima
spajanja, mada izuzetno uvećanim. Ukratko, ravan
vibrira, sabija se ili cijepa, zato što je noslilac neukrućenih naslućenih sila. A to je prije svega ono
što čini suštinu apstraktnog slikarstva: sazvati sve
sile, naseliti ravan onim silama koje nosi, istaći u
njima samima nevidljive sile, energetska čvorišta,
postaviti figure koje izgledaju ageometrijski, ali
koje više nisu ništa drugo do sile, kao sila gravitacije,
sila težine tijela, sila rotacije, sila turbulencije,
eksplozije, ekspanzije, klijanja, sila vremena, kao što
se može reći da nam muzika omogućuje da čujemo
zvučnu silu vremena. Percepcija daruje osjetljivost
neosjetljivim silama koje nastanjuju svijet i koje na
nas djeluju, uvode nas u postojanje. Kada slikarstvo
želi da ponovo počne od nule, gradeći percepte
kao minimum koji prethodi praznini, ili tako što
ih maksimalno približava pojmu, ono primjenjuje
postupak monohromije koja je oslobođenje svake
mimeze. On postaje pretopljen, odnosno ostavljen
u energijama unutrašnje nužnosti, koje je autor
ugradio u temelje slike.
Bogdan Radović u maniru starih majstora i starih
tehnika realizuje svoje veoma savremene formalističko-poetičke crteže. Koristeći se tehnički veoma klasičnim grafičkim pristupima (linorez, bakropis, akvatinta...) razrađuje socijalne teme koje su itekako društveno angažovane. Svoje crteže i skice prevodi grafičkim tehnikama u grafike sa kombinovanim tehnikama, koje u formi frizova
grade narative koji sadrže veoma humoristične
i groteskne prikaze mutiranih i evoluiranih društveno-socijalnih događaja poput procesija, litija,
utakmica, slava, skupova navijača, demonstracija,
kolektivnih društvenih skupova, itd. Kritika kao i
ismijavanje socijalne tematike koje progovaraju iz
njegovih radova, imaju cinične, a ponekad se čini i
karikaturalne pristupe u izvedbama, iz razloga što
TREBINJE 98
but extremely enlarged. In brief, the surface either
vibrates or is compressed or cleft because it is the
carrier of unstiffened sensed forces. And this is
what makes the essence of abstract painting in the
first place: to bring together all forces, inhabit the
surface with them, emphasize in them the invisible
forces or energy hubs, insert figures which look
non-geometric, but which are no longer anything
else but forces, like the force of gravity, body
weight, rotation, turbulence, explosion, expansion,
germination, time, just like we can say that music
enables us to hear the sound force of time.
Perception gives sensibility to insensitive forces
which inhabit the world and act upon us, bringing
us to existence. When painting wants to start from
scratch again, creating precepts as the minimum
which precedes the emptiness, or bringing them
as close to the concept as possible, it employs the
procedure of monochromy which breaks it free
from any kind of mimesis. It becomes recast, left
in the energies of inner necessity, which the artist
has built into the foundation of the painting.
Bogdan Radović creates his very modern formalistpoetic drawings in the manner of old masters and
old techniques. Applying technically classic graphic
procedures (linocut, etching, aquatint etc.), he deals
with social themes creating socially engaged art. He
uses graphic techniques, translating his drawings
and sketches into mixed media graphics, which
in the form of friezes create narratives containing
very humorous and grotesque representations of
mutated and evolved social events such as processions, sports games, celebrations, gatherings of
fans, demonstrations, collective social gatherings
etc. Criticism and mockery of social issues noticed
in his works take a cynical, sometimes apparently
caricatural approach in performances, because with
this method the artist wishes to place an emphasis
autor takvom metodom želi da naglasi neukus,
kič kao i pervertiranost takvih modernih ritualnih
radnji koje svoje korijene nalaze u arhaičnim
tradicionalnim modelima iz daleke prošlosti naših
prostora. U vremenu opšteg političkog i društvenog
razvrata kada su nam stavovi i pogledi utopljeni
u matricu realnosti, ovakvi radovi nam sugerišu
distanciranje ličnog pogleda tj. objektivacije realnosti, te takvo izmještanje, odnosno dislokacija
našeg pogleda može da nam prikaže koliko zapravo ta realnost jeste i može biti groteskna.
Fotografski koncept Nade Arnaut u tehnici crnobijele manipulisane fotografije, kao i referisanje
na ultimativne istorijske događaje ili događaje iz
popularne kulture jesu glavni principi kojima se bavi ovaj rad. Pozicioniranje sebe naspram planete,
kao i osjećanje svoga sopstvenog malog beznačajnog tijela u kontekstu velikh kosmičkih tijela
sa ogromnim masama i ogromnim gravitacijama,
čine da se ovaj rad sagledava iz jednog krajnje
intimističkog ugla. Očigledna citatnost kao i ikoničnost tj. prepoznatljivost datog motiva na
slici jeste dovoljan razlog da shvatimo našu beznačajnost. Naziv rada First landing on Earth sugeriše humor i cinizam kao nemogućnost da se
možda ponovo odleti na Mjesec. Doba velikih
globalnih društvenih bipolarnosti kao i završetak
hladnoratovske ere doveli su do toga da prestanemo da maštamo o nekom čovjekovom ponovnom otiskivanju u beskonačna prostranstva
svemira. Posmatrajući fotografiju dovodimo se u
paradoksalno stanje; dok je posmatramo želimo
dotaći površinu planete, osjetiti da stojimo na
njoj, da smo dobrodošli. Posmatrač se nalazi u
univerzalnom iskustvu interakcije sa silom zemljine
teže, potvrđujući svoje svakodnevno iskustvo,
ali u svjesnijem stanju. Um i tijelo komuniciraju
u korespondentnoj akciji između onog što se
on bad taste and kitsch as well as perversity of
these modern ritual actions finding their roots in
the archaic traditional models from the distant
past of this area. In times of the general political
and social debauchery when our attitudes and
views are embedded in the matrix of reality, such
works suggest the distancing of the personal view
i.e. the objectivization of reality. There fore, such
dislocation of our view can show us to what extent
this reality is and can be grotesque.
The photographic concept of Nada Arnaut in
the domain of manipulated black and white
photography, as well as references to ultimate
historical events or popular culture happenings
are the main principles this work deals with. The
positioning of oneself against the planet and the
feeling of one’s own small and insignificant body
in the context of large cosmic bodies characterized
by gigantic mass and enormous gravity, make
this work be viewed from an extremely intimate
angle. Obvious citationality as well as iconicity, i.e.
recognizability of the given motif in the picture
is a sufficient reason for us to understand our
insignificance. The title of the work First landing
on Earth suggests humour and cynicism as the
impossibility of travelling to the moon again.
The age of great global social bipolarity as well
as the end of the cold war era have made us stop
daydreaming about the man setting sail again to
the infinite space of the Universe. Looking at the
photograph, we are brought into a paradoxical
state; while watching it, we want to touch the
surface of the planet, feel that we are standing on
it, that we are welcome. The viewer is found in the
universal experience of interaction with the force
of gravity, confirming his daily experience, but in
a more conscious state. The mind and the body
communicate in a corresponding action between
TREBINJE 99
želi, a tijelo već obavlja. Dovodeći nas u stanje
neuhvatljive mogućnosti razumjevanja osjećaja da
postojimo i da stojimo na magičnoj lopti, kovitlajući
se univerzumom.
Kada hoćemo da „govorimo o“ i da sagledavamo
najnoviji opus objekata Marka Musovića, nameće
se očigledan dualitet tj. ideja o jednom kako
li-ngvističkom pristupu (prvi), tako i opažanju
objekta kao vizuelnom događaju koji je nesvodiv
na logos (drugi pristup). Često se kaže da izraz
očekivanje ‚opisuje‘ očekivanu činjenicu i mislimo
na nju kao na predmet ili kompleks koji se pojavljuje
kao ispunjenje očekivanja. Namjera (intencija) nije ni uzbuđenje, raspoloženje, ni osećanje niti predstava. Ona nije stanje svijesti. Ona nema pravog
trajanja.1 Na prvi pogled ova serija radova se može
shvatiti kao određena vrsta kolažno-dekolažnih
„slika“ sa elementima vremensko-prostornih tačaka. Dakle, sam autor kao jedan postmoderni nomad pretražuje i obilazi industrijske deponije i
automobilske otpade u potrazi za redi mejd (ready
made) objektima koji su nastali u slučajnom procesu raspadanja i razgrađivanju materije ili kao posledica dekomponovanja i presovanja materijala,
radi dalje prerade ili reciklaže.
Ovakve trodimenzionalne objekte potom „uokviruje“ u ramove koji su takođe u određenom procesu
dezintegracije materije. Suština, dakle, ovog ciklusa
se svodi na jedan konceptualni čin vađenja nekog
objekta/otpada iz prirode/deponije, te određenom
intervencijom i smještanjem u drugačiji kontekst tog
objekta, on postaje referentan umjetnički artefakt.2
1 Stejtment 45. Ludvig Vitgenštajn
2 Revolucionarna ideja savremene umjetnosti sastojala se u tome da
bilo koji predmet, bilo koji detalj ili fragment materijalnog svijeta može
imati istu neobičnu privlačnost kao i ona koja su nekada bila rezervirana za neke rijetke, aristokratske forme, koje su se nazivale umjetničkim
djelima. (...) S posljedicom preobražaja umjetnosti i samog umjetničkog
djela u predmet, bez iluzije i transcendencije, čisti konceptualni acting
TREBINJE 100
what we wish and what the body already performs,
bringing us to the state of the elusive possibility of
understanding the feeling that we exist and that we
stand on a magic ball, swirling with the Universe.
When we want to “speak about” and examine the
latest collection of objects by Marko Musović, we
are unavoidably faced with obvious duality: the
idea of a linguistic approach on one side, and on
the other the perception of the object as a visual
event irreducible to logos. It is often said that the
term expectation “describes” the expected fact and
we think of it as an object or a complex appearing
as fulfilment of expectation. The intention is neither
excitement, nor mood, nor feeling, nor representation.
It is not the state of mind. It has no real duration.1At
first glance, this series of works can be understood
as a kind of collage-décollage “images” with the
elements of temporal and spatial points. Thus,
the artist himself as a postmodern nomad makes
a tour of industrial dumps and automotive waste searching for ready-made objects created in a
random process of decomposition of matter or as a
result of crushing the material for further treatment
or recycling. These three-dimensional objects are
then put into “frames” which are also in a certain
process of disintegration. The essence of this cycle,
thus, is reduced to a conceptual act of extracting an
object/waste from nature/dump, which becomes
a referential artistic artefact through a specific
intervention and the placement of the object into a
different context.2
1 Ludwig Wittgenstein, Statement 45.
2 The revolutionary idea of contemporary art was that any object, any
detail or fragment of the material world, could exert the same strange
attraction and pose the same insoluble questions as were reserved
in the past for a few rare aristocratic forms known as works of art. (...)
With, as a corollary, the transformation of art and of the work itself
into an object, without illusion or transcendence, a purely conceptual
acting-out, generative of deconstructed objects which deconstruct us
in their turn. / Jean Baudrillard
Prvi lingvistički pristup se može „misliti“ u kontekstu
novog čitanja filozofije Ludviga Vitgenštajna.
Prema tome, Musovićevi novi radovi nisu ništa drugo do određena namjera ili intencija autora da se
prag očekivanja (ili možda bolje reći horizont
iščekivanja) recepcije konzumenta svede na
izolovanost datog objekta/slike, ali tako da ta
slika/objekt ne ukazuje iz sebe na realnost izvan
nje. Dakle, ako pokušamo da objasnimo proces
intencije, osjećam, prije svega, da ona može najprije
postići ono što ona treba da postigne, ako sadrži vrlo
vjernu sliku onog što ona intendira. A zatim, da ni
to nije dovoljno, jer slika, ma šta bila, može na razne
načine da se tumači; da je ta slika opet izolovana. Čim
samu sliku uočimo, ona je iznenada mrtva, i kao da
joj je oduzeto nešto što je nju prije toga oživljavalo.
Ona nije misao, nije intencija, i ma šta mi zamišljali
da je prati, artikulisani ili neartikulisani procesi, ili
ma kakva osjećanja, ona ostaje izolovana, ona ne
ukazuje iz sebe na realnost izvan nje. Sada će se reći:
‚Naravno da slika ne intendira, već mi moramo njome
nešto da intendiramo‘. Ali ako to intendiranje, to smjeranje, jeste opet nešto što se događa sa slikom, ne
vidim zašto to treba da bude povezano s čovjekom.3
Dakle, iz ovoga se naslućuje da autor, slučajnim
izborom, nasumično bira „ponuđene“ objekte koji
su nastali ne njegovom (umjetnikovom) voljom,
već voljom mašine ili industrijskog procesa koji je
rezultirao formom koja je izabrana od strane autora.
Naknadno, tek sa određenim postprodukcijskim
intervencijama i smještanjem objekata u sistem
umjetnosti ovi objekti/slike postaju ono što je autor
sve vrijeme očekivao ili tražio.
out, u generatora dekonstruisanih predmeta, došlo je do toga da, zauzvrat, predmeti dekonstruišu nas. / Žan Bodrijar
3 Ludvig Vitgenštajn, Listići, Fedon, Beograd, 2007.
The first linguistic approach can be “thought” in the
context of a new reading of Ludwig Wittgenstein’s
philosophy. Therefore, Musović’s new works are
but the artist’s intention to reduce the consumer’s
threshold of expectations (or better the horizon of
expectations) to the isolation of the given object/
image, but in the manner that the image/object
does not point to the outside reality from within
itself. Thus, if we try to explain the process of intention,
I feel, above all, that it can best achieve what it should
achieve if it contains a very faithful image of what it
intends. And then I feel that it is not enough since the
image, whatever it was, can be interpreted in various
ways; that the image is isolated again. As soon as we
spot the image itself, it is suddenly dead, as if something
that made it alive has been taken away from it. It is not
a thought or an intention, and whatever we imagined
was following it, articulate or inarticulate processes
orany kinds of feelings, it remains isolated and does
not point to the outside reality from within itself. One
will say: ‘Of course the image does not intend, but we
have to intend something with it’. But if this intending
is something that happens with the image, I don’t
see why this should be connected to man.3 So it can
be deduced that the artist randomly chooses the
“offered” objects which were not created through
his own will, but through the will of the machine or
industrial process which resulted in the form chosen
by the artist. Only later, with some post-production
interventions and the placement of objects in the
art system, do these objects/images become what
the artist expected or looked for all the time. For
according to Wittgenstein again: The idea that only
finding tells us what we have been looking for, that
only fulfilment of our wish tells us what we have wished
for, this idea means judging about the process like the
3 Ludwig Wittgenstein, Listići, Fedon, Beograd, 2007 (excerpt translated into English by the translator of this text).
TREBINJE 101
Jer, opet prema Vitgenštajnu: Ideja da nam tek
nalaženje pokazuje šta smo tražili, da nam tek
ispunjenje želje pokazuje šta smo željeli, ta, dakle, ideja
znači suditi o procesu kao o simptomima očekivanja
ili traženja kod nekog drugog.4
Kao što je Derida pokazao na primjeru intertekstualnosti tekstova koji se međusobno nadopunjuju, odnose jedan na drugi u horizontu istorije
metafizike kao istorije pisma, analogno se može
govoriti o interpikturalnosti slika u medijskom
okruženju savremenoga doba. Slika ili predstava
se više ne odnosi na neku postavljenu realnost
spoljnjeg ili unutrašnjeg svijeta nego se slike
odnose jedna na drugu. Taj zatvoreni semiotički
krug slike određuje savremenu kulturu i umjetnost
slike. Drugi pristup opažanju slike/objekta jeste kao
vizuelnom događaju (iconic turn) koji je nesvodiv
na logos. Umjesto logičkog i jezičko-analitičkog
utemeljenja razumijevanja slike kao simboličkog
prenosa ideja, formi i sadržaja imanentnog slici,
pictorial turn radikalno postavlja tezu o gledanju
i opažanju slike kao vizuelnom događaju koji je
nesvodiv na jezik. Slika se na taj način oslobađa
u samoj sebi, posredstvom gledanja i opažanja
kao uslova mogućnosti spoznaje realnoga, a ne
kao mimetičko-reprezentacijski model realnosti
koji određuju logička i gramatička pravila jezika
u aktu razumijevanja svijeta. Takvo oslobađanje
slike/objekta kod Marka Musovića predstavlja
ekvivalent onog izolovanog objekta koji ne ukazuje
iz sebe na realnost izvana. Ovakva spregnuta forma,
kompresovanost pod pritiskom, jeste upravo ta
mehanička sila koja je učinila da se forma očituje
tako introvertno, te da unutar nje ne možemo ni
naslutiti kakav se sadržaj krije. Na prvi pogled takva
mimetička hermetičnost slike/objekta jeste intencija autora, ali tako da ta slika/objekt ne ukazuje iz
4 Stejtment 57. Ludvig Vitgenštajn
TREBINJE 102
symptoms of expectation or searching in someone
else.4 Just like Derrida has shown on the example of
intertextuality, i.e. mutually interrelated texts in the
horizon of the history of metaphysics as the history
of the alphabet, we can speak of the interpictoriality
of images in the media environment in modern
times. An image or representation no longer relates
to a set reality of the external or internal world but
they relate to one another. This closed semiotic
circle determines contemporary culture and the art
of the image. The other approach to the perception
of an image/object is seeing at as a visual event
(iconic turn) which is irreducible to logos. Instead
of the logical and linguistic – analytical foundation
for understanding the image as a symbolic transfer
of ideas, forms and content inherent in the image,
the pictorial turn radically introduces the thesis of
viewing and perceiving the image as a visual event
irreducible to language. In this way, the image
is liberated within itself, through the viewing
and perceiving as conditions of the possibility
of knowledge of the real, and not as a mimetic –
representational model of reality determined by
logical and grammatical rules of the language in the
act of understanding the world. In Marko Musović’s
work, such liberation of the image/object represents
an equivalent of the isolated object which does not
point to the outside reality from within itself. Such
a compact form, compressedness under pressure,
is exactly the mechanical force which has made the
form manifest itself in such an introvert manner,
so we cannot even predict what content is hidden
within it. At first glance, such mimetic hermeticity
of the image/object is in fact the artist’s intention,
but in the way that the image/object does not point
to the expected outside reality from within itself.
4 Ludwig Wittgenstein, Statement 57.
sebe na očekivanu realnost izvan nje.
Taj odnos očekivanog i intendiranog jeste najbitnije određenje ove serije radova. Ovi radovi stoje
na samoj granici ili ivici te relacije, koja ih na neki
način čini „neuhvatljivim“, a opet je očigledno da
ovakav umjetnički komad ili predmet, koji je bez
iluzije i transcendencije, jeste čisti konceptualni
odigravajući čin, u označiteljskoj mreži dekonstruisanih predmeta. Takva slika/objekt kao intencija očekivanog, dovela je do toga da artefakti/
predmeti sada dekonstruišu nas.
Rad Bojane Tamindžije pod nazivom Nasleđe
jeste tipična postkonceptualna praksa savremene
umjetnosti postjugoslovenskog prostora. Ovaj rad
je jedan od radova sa njene diplomske izložbe iz
2009. godine, a kuriozitet jeste da se ovom prilikom
prvi put izlaže. Instalacija sastavljena od printova
koji jesu cover-i knjiga iz prošlosti koje je posjedovao
njen otac, reprezentuju relaciju umjetnice naspram
individualnog sjećanja. Njeno lično sjećanje kako
na oca, tako i na predratni period djetinjstva, ovdje
se sažima u paradigmu našeg ukupnog kolektivnog
sjećanja na prostore, procese, modele, ideologije,
dizajn, koncepte i referentne tačke u vremenu kojih
više nema ili koje ne postoje. Raspad Jugoslavije,
zapečaćen ratom i njime uzrokovanim migracijama,
predstavljan je kao nužno zlo tranzicije u koju nacionalizmom opijeni narodi bivše Jugoslavije nisu drugačije mogli ni ući. Tranzicija je označavana kao
prelazak iz totalitarnog režima u demokratski i kao
prelazak iz planske privrede u tržišnu koja će doneti
blagostanje i stabilizaciju regiona rasparčanog na
nacionalne države. Da bi tranzicija uspela, trebalo
je da se oslobodimo loših navika socijalizma i da
‚preuzmemo stvari u svoje ruke‘. Paralelno sa takvim
narativom tekao je proces uništavanja privrede i
masovnih otpuštanja, pa su mnogi bivši radnici,
uključujući i mog oca, gurnuti u pokretanje ‚malih
This relation between the expected and the intended is the most significant determinant of this
series of works. These works stand on the verge or
edge of this relation, which in a way makes them
elusive, and yet it is obvious that such an artwork
or object, devoid of illusion or transcendence, is a
pure conceptual act of acting out, in the signifying
network of deconstructed objects. The image/
object as an intention of the expected has resulted in artefacts/objects deconstructing us now.
Bojana Tamindžija’s work entitled Heritage is typical of post-conceptual practice of contemporary
art in ex-Yugoslav territory. Heritage is one of the
works from her graduation exhibition from 2009
and it is a curiosity that it has now been exhibited
for the first time. The installation comprised of
prints which are actually cover pages of her father’s
books from the past represents the artist’s relation
to her individual memory. Her personal memory
both of her father and of the pre-war period of her
childhood is here compressed in the paradigm of
our collective memory of the spaces, processes,
models, ideologies, designs, concepts and
referential points in a time which no longer exists.
The break-up of Yugoslavia, sealed with the war and
ensuing migrations, is represented as a necessary evil
of transition in which the peoples of former Yugoslavia
intoxicated by nationalism could not have entered
differently. Transition was defined as change from a
totalitarian to a democratic regime as well as change
from a planned economy to a market economy
which would bring well-being and stabilization of
the region split into national states. In order for the
transition to succeed, we were to get rid of the bad
habits of socialism and ‘take matters into our own
hands’. Concurrent with this narrative, the destruction
of economy and mass layoffs were taking place; as a
result, many former workers, including my father, were
TREBINJE 103
preduzeća‘ koja su često označavana kao uspešni
nosioci tranzicije. Međutim, ubrzo se pokazalo da
je tranzicija sinonim za organizovanu pljačku, a
pokretanje proizvodnje u okviru ‚malog preduzeća‘
prečica do bankrotstva. Na prvom nivou rad suprostavlja stvaralačko i produktivno ogoljenoj knjigovodstvenoj rutini evidentiranja poreskih izjava,
podvlačeći kvalitativnu razliku između života u SFRJ
i surove i ogoljene borbe za egzistenciju ‚gubitnika
u tranziciji‘, kako se generacija naših roditelja često
označava. U isto vreme multipliciranjem Knjige datih
izjava otvara se pitanje položaja i odgovornosti
generacija koje su odrasle u zemlji stvorenoj borbom
njihovih majki i očeva protiv fašizma i kapitalističkog
društvenog poretka koji ih je ugnjetavao. Kroz
relativno lagodan život u SFRJ generacija naših
roditelja, dovedena tranzicijom do prosjačkog štapa,
okreće pun krug i nama ostavlja nasleđe naših deda i
baka koje oni sami nisu mogli da iznesu. Na taj način
Knjiga datih izjava ne funkcioniše kao simbol ličnog
neuspeha, nego kao otvorena knjiga svedočanstava
‚tranzicijskih gubitnika‘ čije je iskustvo nužno do kraja
politizovati od strane njih samih, a u korist budućih
borbi koje su neminovno pred nama. 5
Serijom veoma angažovanih i provokativnhih digitalnih kolaža i foto manipulacija Nebojša Bumba
kroz svoje radove preispituje uslovljenu društvenopolitičku realnost u kontekstu bosansko-hercegovačkog društva. Kako sam autor nije izabrao takvu
datost, on svojim radovima pokušava, u veoma sofisticiranom postnaturalističkom maniru, da prikrivajući/otkrivajući određene ikoničke medijske slike,
koje jesu trivijalne, sebe postavi u poziciju ne samo
kritičara, već aktivnog hronologa i dokumentaristu
unutar vremena i prostora u kome se nalazimo.
forced to start “small businesses” which were often
described as cornerstones of transition. However, it
soon turned out that transition was synonymous with
organized fraud, while starting a production within
a “small enterprise” was a shortcut to bankruptcy. At
the first level, the work opposes the creative and the
productive to the bare accounting routine of recording
tax statements, highlighting the qualitative difference
between life in SFRY and the brute and bare struggle
forexistence of ‘transition losers’, as the generation
of our parents are frequently labelled. At the same
time, the multiplication of the Book of Statements
raises the question of the position and responsibility
of the generations brought up in the country created
through their parents’ fight against fascism and
capitalist social order they were oppressed by. Through
a relatively easy life in SFRY, the generation of our
parents, impoverished by transition, turns full circle
leaving us the heritage of our grandparents that they
themselves were unable to deal with. In that way, the
Book of Statements does not function as a symbol of
personal failure, but as an open book of testimonies of
‘transition losers’ whose experience must necessarily
be fully politicized by themselves for the benefit of
future struggles unavoidably lying ahead of us.5 With
his series of socially-engaged and very provocative
digital collages and photo manipulations, Nebojša
Bumba re-examines the conditioned social and
political reality in the context of Bosnian and
Herzegovinian society. Since the artist himself did
not choose the given circumstances, with his works, in a very sophisticated post-naturalistic manner,
by hiding / revealing some iconic media images,
which are trivial, he tries to take on not only the role
of critic, but also the role of active chronologist and
documentarist in the time and place we live in.
5 Isječak teksta predstavlja stejtment autorice iz diplomskog rada
5 The extract is the artist’s statement from her graduation paper.
TREBINJE 104
Ovakav pristup, dakle, nije nužni izbor, već vitalna
potreba autora da kritički progovori i estetički
kontekstualizuje hiper-turbo supstrate današnjih
medijskih, novinskih televizijskih, internet kao i svih
drugih slika kojima smo okruženi.
Such approach, thus, is not a necessary choice
but a vital need of the artist to voice his criticism
and aesthetically contextualize the hyper-turbo
substratum of the current media, newspapers, TV,
internet and all other images we are surrounded by.
Vizuelna citatnost u radovima Ratka Vučinića jesu
referentni predlošci koje autor koristi veoma često
kako bi u ravan svoje slike ili crteža postavio neke
značajne reference kako iz istorije umjetnosti, tako
i prostore nekih velikih i značajnih muzeja. Ovakvo
„ubacivanje“ jeste obrnut proces od intervenisanja
preko zadatih referentnih predložaka. Iako autor
često dekontekstualizuje prostor i ravan izabranih
referentnih slika, njihovom promjenom značenja
on zapravo generiše jedno novo vizuelno polje.
Lajtmotivi koje autor koristi jesu crtačko-slikarske
kompozicione forme centralno postavljenih figura
koje postaju novi označitelji čija je svrha da dopune,
aludiraju, mistifikuju, otkriju i prepoznaju jednu
novu realnost. Slojevitost i dualnost ravni ovih
radova mogu na prvi pogled da referišu na neku
vrstu omaža radova iako to nisu, ili možemo da
pretpostavimo da se radi o nekoj aproprijacijskoj
praksi u umjetnosti, koja, takođe, to nije. Iako
izgleda logično da autor radi preko zadatih okvira
tj. da interveniše na referentne predloške, ova serija
radova zapravo jesu obrnuti kognitivno-misaoni
procesi odricanja i oduzimanja tj. žrtvovanja elemenata svog likovno-poetičkog diskursa zarad
cjelovitosti ukupne misaono-likovne strukture.
Ovakvi istraživački metaforički procesi na fonu
dvodimenzionalne ravni jesu generički veoma
interesantne i promišljene likovne manifestacije
čiju referencijalnost možemo takođe otkrivati u
realnosti koja je oko nas.
Crteži Mirjane Kodžo jesu veoma lične priče
iz kojih se artikuliše i vidi psihološki intimizam
Visual citations in the works of Ratko Vučinić are
referential imagesvery often used by the artist
aimed at including in his painting or drawing some
important references both from the history of art
and from the galleries of some large and significant
museums. This “insertion” is a process opposite to
the intervention through given referential images.
Although the artist frequently decontextualizes
the space and the level of the selected referential
images, by altering their meaning he actually generates a new visual field. The leitmotifs used by the
artist are the drawing and painting compositions
of centrally placed figures which become new signifiers whose purpose is to add to, allude to,
mystify, reveal and recognize a new reality. At first
glance, the layered and dual nature of these works
may refer to a kind of homage to works although
this is not the case; or we may assume that it is a
practice of appropriation in art, which is not the
case either. Although it seems logical that the artist
works within the given framework, i.e. that he makes
interventions on the referential images, this series
of works in fact represents the reverse cognitive and
thinking processes of relinquishing and removing i.e.
sacrificing the elements of his visual artistic and poetic
discourse for the sake of completeness of the overall
thoughtandartstructure. Such metaphorical research
processes in the frame of a two-dimensional plane
are generically very interesting and deliberate visual
artistic manifestations whose referentiality can also
be revealed in the reality which surrounds us.
TREBINJE 105
kao mikronarativ personalnih duhovnih stanja.
Njeni crteži su određena vrsta ličnog unutrašnjeg
dijaloga, tj. razogovora sa samim sobom. Takva
vrsta unutrašnjeg dijaloga ili crteža kao solilokvija,
predstavljaju kreativnu spontanost koja je odlika
veoma senzibilnih ličnosti.
Konstantno postavljanje pitanja, preispitivanje
samog sebe, kao i emancipatorski odnos prema
realnosti i društvenoj sferi jeste, takođe, stanje
tih crteža kao i relacija takvog rukopisa naspram
okoline. Odnos erosa (stvaralačke energije) i tanatosa (destruktivne energije) su takođe važna pitanja
i pojave koje autorica proučava, osjeća i promišlja.
U prvom planu prepoznajemo automatizam, spontanost koji su odgovorni za pojavnost gesta, mrlje,
spirale, šrafure, otiska pečata koji odaju onu autorovu ličnu crtu koja nastaje akademskim obrazovanjem i naknadnom potrebom da se to stečeno
znaje odbaci, dekonstruiše, te da se namjerno
opravdana greška proglasi za kvalitet kao samostalnu vrijednost. Crtež je najstarija likovna forma i upravo zbog toga njemu je potrebna ta
dječija spontanost, koja ga onda čini izražajno još
ubjedljivijim. Mirjana je to uspješno postigla, te
njen crtež sadrži i psihološki odraz autora, njenih
svjesnih i nesvjesnih intencija, pobuda, iskaza
kao i ideja. U drugom planu je očigledna potreba
da se redefiniše autorov odnos naspram prirode.
Kao što je spoznao ruski pjesnik Josif Brodski da
je možda „umjetnost prosto reakcija organizma na
vlastitu ograničenost“, koja za cilj ima preispitivanje
konačnih formalnih dometa ljudskog duha van te
ograničenosti, na sličan način i crteži Mirjane Kodžo
pretenduju da budu dio tih relacija koji se odnose
na ono prevazilaženje vlastitih kako tjelesnih tako i
duhovnih ograničenja.
Inability of action jeste dokumentacija performansa u kojem Miloš Vučićević želi da svojim neTREBINJE 106
The drawings of Mirjana Kodžo are very personal
stories from which psychological intimism is
articulated as a micro-narrative of personal states
of mind. Her drawings are a sort of personal internal dialogue, i.e. a conversation with herself. This
kind of internal dialogue or drawing as a soliloquy represents creative spontaneity characterizing
highly sensitive persons.
Continuously asking questions, re-examining
oneself as well as taking an emancipatory attitude
towards reality and social sphere is also the state
of these drawings as well as relation of such work
to the environment. Eros (creative energy) and
Thanatos (destructive energy) and their relation
are also important issues and phenomena that
the artist studies, feels and ponders. We primarily
recognize automatism and spontaneity responsible for the appearance of a gesture, blotch, spiral,
hatch, stamp which reveal the artist’s personal
trait developed through university education and
subsequent need to reject the knowledge acquired,
to deconstruct it, and to pronounce the deliberately
justified mistake to be quality as an independent
value. Drawing is the oldest visual art form and for
this reason it needs children’s spontaneity, which
makes its expression even more convincing.
Mirjana has successfully achieved this, so her
drawing contains the psychological reflection of
the artist herself, her conscious and unconscious
intentions, motives, statements and ideas.
What we also find in her workis the obvious need
to redefine her attitude to nature. Just like the
Russian poet Joseph Brodsky concluded that “art
might just be a reaction of an organism to its own
limitations”, whose aim is to re-examine the final
formal achievements of the human spirit outside
these limitations, Mirjana Kodžo’s drawings in a
way also aspire to be part of the relations referring
djelovanjem približi egzistencijalnost današnjih
pokušaja umjetnika za djelovanjem kao činom
borbe. Samim tim želi i da iskaže, simbolički, odnos
današnje individue prema društvenoj sredini u kojoj i on sam kao odgovorna društvena individua treba da se nametne sa svojim jasnim glasom i stavom.
Performans je u formi kratkog videa, umjetnik je u
pokušaju da ne-djelovanje prenese na viši nivo,
takoreći da svoju nemogućnost prikaže većoj grupi
ljudi koji, iako bi trebalo da percepiraju situaciju i da
reaguju na postojeću, oni to ne čine. Ovdje se stvara
određeni vakuum, jer pronalaženjem samoga sebe,
a pritom uz nametnutu sliku stvarnosti kroz medij
televizora, stvorena je određena čahura, paradigma,
koja vam zapravo ne dozvoljava da reagujete.
Nama ne upravlja stvarna prošlost, već slike prošlosti 6 jeste naziv koncepta kojim se predstavljam na
ovoj izložbi, a oba filma jesu dio istoimene trilogije.
Radovi sa bave problematizacijom kao i mapiranjem
i istraživanjem prostora i mjesta u regionu, koji imaju
značaj u smislu da sadrže, „proizvode“ ili generišu
slike prošlosti koje „upravljaju“ nama u sadašnjosti
ili budućnosti. Ovakva mjesta su referentne tačke u
prostoru i vremenu, u odnosu na koje danas projektujemo našu moguću percepciju budućnosti.
Pokretne slike, koje se sugerišu i generišu kroz film
i video govore o stvarima, ljudima, prostorima koji
zapravo ne nestaju. Ideologija nestaje, ideja se troši
kao i slika tj. prestaje da postoji, dok artefakti i tragovi ljudskog rada ostaju prisutni.
Prisustvo tragova rada, ideja, prisustvo ideologije
kroz prostor i arhitekturu prošlosti egzistira u
6 Skraćeni, tj. modifikovani citat Džordža Stajnera (George Steiner) koji
u originalu glasi: It is not the literal past that rules us, save, possibly, in a
biological sense. It is images of the past. Each new historical era mirrors
itself in the picture and active mythology of its past or of a past borrowed
from other cultures. It tests its sense of identity, of regress or new achievement against that past
to overcoming one’s own limitations, both physical
and spiritual.
Inability of action is a documentation of a performance in which Miloš Vučićević wishes, through
his inaction, to bring closer to us the existential
nature of the artists’ present attempts at action as
an act of fighting. Therefore, he also wants to express
in a symbolic way the attitude of a modern individual
towards the social environment in which he as a
responsible social individual should impose himself
with a clear voice and attitude. The performance is
in the form of a short video and the artist attempts
to bring inaction to a higher level, to demonstrate
his inability to a larger group of people who should
perceive the situation and react to it, but they fail
to do so. A certain vacuum is created here, since by
finding oneself, with the picture of reality imposed
through the medium of television, one creates a
cocoon, a paradigm which actually does not allow
you to react.
It is not the literal past that rules us, but the images
of the past 6 is the name of the concept I present
myself with in this exhibition, and both films
are part of a trilogy bearing the same name. The
works problematize, map and explore the space
and place in the region, whose significance is in
containing, “producing” and generating the images
of the past “ruling” us in the present or future. Such
places are reference points in space and time, in
relation to which we project our possible perception
of the future. Moving images, which suggest and
generate ideas through the film and video, speak
6 Abridged i.e. modified quotation by George Steiner whose original
reads as follows: It is not the literal past that rules us, save, possibly, in a
biological sense. It is images of the past. Each new historical era mirrors
itself in the picture and active mythology of its past or of a past borrowed
from other cultures. It tests its sense of identity, of regress or new achievement against that past.
TREBINJE 107
materijalnom smislu, dok odsustvo ljudi, kao i
odsustvo ideologije poništava već gorepomenuto
materijalno prisustvo.
Ovakve pokretne slike jesu paradoks za sve prisutnije nestajanje sjećanja, narativa, prostora, mitova,
slika koje su u bliskoj vezi sa materijalnim prisustvom
arhitekture i prostora koji se pojavljuju u filmu.
U tom kontekstu rad Hotel Balkan predstavlja se
kao meditativni i ambijentalni video koji definiše
granicu između futurističkog sjećanja na prošlost i
sadašnjeg zamišljanja budućnosti.
Uvijek sam se pitao, kako to da se određena slika
iz prošlosti – aktuelne prošlosti – često više osjeća
futurističkom nego trenutna slika zamišljene budućnosti? Ali ako budućnost ne izgleda baš kao
budućnost, prošlost obično izgleda. Postoje slike iz
prošlosti, koje odmah prepoznajete da su iz prošlosti,
ali i pored toga mi ih osjećamo futurističkim. Iako
je tako, izgleda da ima nešto u našem mozgu što
želi da ih učitamo, shvatimo kao slike iz budućnosti.
Film je sniman u Titovom bunkeru u Konjicu.
Sve što si znao, bilo je pogrešno... jeste film koji u pet
poglavlja na metaforičan način prikazuje promjenu
društvenog i ideološkog sistema na našim prostorima. Video je drugi dio tj. nastavak filma Hotel
Balkan. Film je sniman u napuštenoj štampariji koja
je mutirala u muzej/arhiv napuštenih i tehnološki
prevaziđenih mašina.
Evolucija, devalvacija društveno-ideološko-političkih
paradigmi dovodi do promjene kompletnog ekonomsko-socijalnog diskursa koji uslovljava po-javu
novih označitelja. Tragovi ljudskog rada i vreme-na
potrošenog u fabrikama jesu mjesta iz prošlosti koja
generišu nove simbole i metafore za budućnost
koje nema. Takvi simboli i metafore kojih više nema,
zapravo jesu narativi u nestajanju.
TREBINJE 108
about things, people and spaces which actually
do not disappear. Ideology disappears, an idea
and an image wear our i.e. cease to exist, while
the traces and artefacts of human work remain
present. The presence of the traces of work, ideas,
the presence of ideology through the space and
architecture of the past, exist in the material sense,
while the absence of people, as well as the absence
of ideology annul the above mentioned material
presence. These moving images are a paradox for
the increasingly present disappearance of memories, narratives, spaces, myths, images which
are closely related to the material presence of the
architecture and space appearing in the film.
In this context, Hotel Balkan emerges as a meditative and ambient video which defines the border
between the futurist memory of the past and
present vision of the future. I have always wondered how come that a certain image from the past
– actual past – is often felt more like a futurist than
like a current picture of an imaginary future? But if
the future does not look like future, the past usually
does. There are some images from the past that
we immediately recognize as such, but despite
this we somehow feel them as futuristic. It seems
that there is something in our brain that wants us
to read and understand them as images from the
future. The film was shot in Tito’s bunker in Konjic.
All you knew was wrong... is a film divided into five
chapters which metaphorically depicts the change
in the social and ideological system in this region.
The video is the second part or a sequel to Hotel
Balkan. It was shot in an abandoned printing house
converted into a museum/archive of abandoned
and technologically obsolete machines.
Evolution and devaluation of social, ideological
and political paradigms lead to a change in the
entire economic and social discourse conditioning
the emergence of new signifiers.
The traces of human work and time spent in
factories are points from the past which generate
new symbols and metaphors for a non-existent
future. Such symbols and metaphors that no longer exist are in fact disappearing narratives.
Translation by Olivera Kusovac
TREBINJE 109
Nada Arnaut
Rođena 1981. godine u Metkoviću (Hrvatska).
Pretežno se bavi slikarstvom, instalacijom i fotografijom. Diplomirala 2007. na slikarskom odsjeku na
Akademiji likovnih umjetnosti u Trebinju, gdje je i
magistrirala 2013. godine.
Do sada imala četiri samostalne izložbe i izlagala na
preko deset grupnih izložbi u zemlji i inostranstvu.
Od 2009. godine zaposlena kao asistent na Akademiji likovnih umjetnosti u Trebinju.
Živi i radi u Trebinju.
Born in 1981 in Metkovic (Croatia).
She is engaged mainly in painting, installation and
photography. She graduated in 2007 at the Academy of Fine Arts in Trebinje, Painting Department
where she received her M.A. in 2013.
Up to now she had four solo exhibitions and over
ten group exhibitions at home and abroad.
Since 2009 she has been employed as assistant lecturer at the Academy of Fine Arts in Trebinje.
She lives and works in Trebinje.
www.nadaarnaut.com
[email protected]
TREBINJE 110
Prvo slijetanje na Zemlju, 2013.
First landing on Earth, 2013
crno-bijela fotografija | black-white photograph
120 x 80 cm
TREBINJE 111
Igor Bošnjak
Rođen 1981. godine u Sarajevu.
Diplomirao na Akademiji likovnih umjetnosti u
Trebinju, odsjek slikarstvo. Od 2007. do 2011 godine završio je magistarske studije i pohađao doktorske studije Centra za Interdisciplinarne studije
na Odseku za Teoriju umetnosti i medija Univerziteta umetnosti u Beogradu. Pretežno istražuje u
videu, konceptu i fotografiji. Osnivač je bijenala namaTREba. Bavi se kustoskom praksom video umjetnosti, te radi i kao freelance teoretičar. Trenutno
zaposlen kao asistent na Akademiji likovnih umjetnosti u Trebinju. Finalista Zvono nagrade 2010. za
najboljeg mladog BH umjetnika u organizaciji Centra za Savremenu Umjetnost iz Sarajeva.
Živi i radi u Trebinju.
www.igorbosnjak.com
[email protected]
TREBINJE 112
Born in 1981 in Sarajevo. He graduated at the Academy of Fine Arts in Trebinje, Painting Department.
From 2007 to 2011 he finished (MA) and studied
(PhD) Interdisciplinary studies, Theory of Art and
Media Department at the University of Arts in Belgrade. He mostly explores in video art, concept and
photography. He is founder of the Biennial namaTREba. He is into curatorial practices in video art
and works as a freelance theorist. Currently he is
employed as assistant lecturer at the Academy of
Fine Arts in Trebinje. He was the Zvono Prize finalist
in 2010 for the best young BH artists organized by
the Centre for Contemporary Art in Sarajevo.
He lives and works in Trebinje.
Hotel Balkan & Sve što si mislio bilo je pogrešno..., 2013–2014.
Hotel Balkan & Everything you thought, was wrong..., 2013–2014
video, dimenzije varijabilne / projekcija 300x140cm (2 HD videa, trajanje 22 min.)
video, variable dimensions / projection 300x140cm (2 HD videos, duration 22 min)
TREBINJE 113
Nebojša Bumba
Rođen 1983. god. u Trebinju.
Eksperimentiše u novim medijima, digitalnom
crtežu, slikarstvu i kolažu, kao i fotografiji. Diplomirao na slikarskom odsjeku 2011. godine na Akademiji likovnih umjetnosti u Trebinju. Do sada imao
četiri samostalne izložbe i izlagao na preko dvadeset grupnih izložbi u zemlji i inostranstvu.
Živi i radi u Trebinju.
Born in 1983 in Trebinje.
He experiments in new media, digital drawing,
painting and collage as well as in photography. In
2011 he graduated at the Academy of Fine Arts in
Trebinje, Painting Department. Up to now he had
four solo exhibitions and over twenty group exhibitions at home and abroad.
He lives and works in Trebinje.
www.nebojsabumba.com
[email protected]
Pohlepa, 2011–2012.
Greed, 2011–2012
print na platnu | print on canvas
90 x 60 cm
TREBINJE 114
TREBINJE 115
Miljan Vuković
Rođen 1977. godine u Mostaru.
Dilomirao 2003. godine na slikarskom odsjeku na
Akademiji likovnih umjetnosti u Trebinju, gdje je i
magistrirao 2013. godine. Do sada izlagao na preko
10 samostalnih i više kolektivnih izložbi u zemlji i
inostranstvu. Pretežno se bavi slikarstvom.
Živi i radi u Trebinju.
Born in 1977 in Mostar.
He graduated in 2003 at the Academy of Fine Arts
in Trebinje, Painting Department where he also received his MA degree in 2013. Up to now he exhibited at over 10 solo and numerous group exhibitions at home and abroad. He is engaged mainly in
painting.
He lives and works in Trebinje.
Slikarstvo unutrašnje nužnosti, 2009–2011.
Painting of Inner Necessity, 2009–2011
ulje na platnu | oil on canvas
120 x 80 cm
[email protected]
TREBINJE 116
TREBINJE 117
Ratko Vučinić
Rođen 1949. godine u Nikšiću.
Diplomirao je na Akademiji primenjenih umetnosti
u Beogradu, gdje je i magistrirao 1982. godine. Radi
na Akademiji likovnih umjetnosti u Trebinju u zvanju vanrednog profesora, na predmetima Analitičko
slikanje i Crtež. Izlagao na mnogim grupnim i samostalnim izložbama u zemlji i inostranstvu.
Živi i radi u Trebinju i Beogradu.
Born in 1949 in Niksic. He graduated at the Academy of Applied Arts in Belgrade, where he also received his MA degree in 1982. He works at the Academy of Fine Arts in Trebinje as Associate Professor
for the subjects Analytical Painting and Drawing. He
has exhibited at many group and solo exhibitions at
home and abroad.
He lives and works in Trebinje and Belgrade.
[email protected]
Bez naziva, 2011.
Untitled, 2011
kombinovana tehnika | mixed technique
49 x 43 cm
TREBINJE 118
TREBINJE 119
Miloš Vučićević
Rođen 1991. godine u Užicu. Apsolvent na slikarskom odsjeku na Akademiji likovnih umjetnosti u
Trebinju. Izlagao na više grupnih izložbi i učesnik
nekoliko umjetničkih projekata.
Živi i radi u Trebinju.
Born in 1991 in Uzice. He is graduate student at the
Painting Department at the Academy of Fine Arts in
Trebinje. He has exhibited at several group shows
and participated in several art projects.
He lives and works in Trebinje.
Nesposobnost akcije, 2013.
Inability of Action, 2013
performans-video, kolor, dimenzije varijabilne
performance-video, colour, variabile dimensions
[email protected]
TREBINJE 120
TREBINJE 121
Mirjana Kodžo
Rođena 1992. godine u Mrkonjić Gradu. Apsolvent
na Akademiji likovnih umjetnosti u Trebinju, odsjek
slikarstvo. Do sada je izlagala na nekoliko kolektivnih izložbi i dvije samostalne.
[email protected]
Born in 1992 in Mrkonjic Grad. She is advanced student at the Academy of Fine Arts in Trebinje, Painting Department. Up to now she has exhibited at
several group exhibitions and two solo exhibitions.
Intimizam, 2013.
Intimism, 2013
kombinovana tehnika na papiru | mixed technique on paper
21 x 29 cm
TREBINJE 123
Marko Musović
Rođen 1958. godine u Nikšiću. Akademiju likovnih
umjetnosti i magistarske studije završio je u Zagrebu, na slikarskom odsjeku. Bio je stipendista
Španske vlade na Akademiji San Fernardo u Madridu 1987/88. godine. Redovni je profesor na Akademiji li-kovnih umetnosti u Trebinju. Učestvovao je
na velikom broju samostalnih i kolektivnih izložbi i
za svoj rad je više puta nagrađivan.
Živi i radi u Trebinju.
Born in 1958 in Niksic. He graduated at the Academy of Fine Arts in Zagreb, Painting Department
where he also obtained his M.A. degree. During
1987/88 he was on a Spanish government scholarship at the San Fernando Academy in Madrid. He is
professor at the Academy of Fine Arts in Trebinje.
He has participated in numerous solo and group
exhibitions and has received numerous awards for
his work. He lives and works in Trebinje.
Slika | Objekt kao intencija očekivanog,
2012–2013.
Painting | Object as Intention of the Expected,
2012–2013
kombinovana tehnika | mixed technique
80 x 60 x 30 cm
[email protected]
Bogdan Radović
Rođen 1977. godine u Sokocu. Diplomirao je na Akademiji likovnih umjetnosti u Trebinju na grafičkom
odsjeku, gdje je i magistrirao 2013. godine. Do sada
je izlagao na nekoliko kolektivnih i više samostalnih
izložbi. Od 2008. zaposlen kao asistent na Akademiji
likovnih umjetnosti u Trebinju.
Živi i radi u Trebinju.
Born in 1977 in Sokolac. He graduated at the Academy of Fine Arts in Trebinje, Graphics Department,
where he also received his M.A. in 2013. Up to now,
he has exhibited at several group and solo exhibitions. Since 2008 he has been employed as assistant
lecturer at the Academy of Fine Arts in Trebinje.
He lives and works in Trebinje
Bez naziva, 2010–2012. | Untitled, 2010–2012
kombinovana tehnika | mixed technique
40 x 30 cm
[email protected]
TREBINJE 127
Bojana Tamindžija
Rođena 1981. godine u Ljubinju. Diplomirala 2009.
godine na slikarskom odsjeku na Akademiji likovnih umjetnosti u Trebinju. U toku 2008. godine
boravila u Sloveniji i Austriji uz stipendije i grantove
tih država. Izlagala na preko deset grupnih izložbi u
zemlji i inostranstvu. Finalista Zvono nagrade 2009.
za najboljeg mladog BH umjetnika u organizaciji
Centra za Savremenu Umjetnost iz Sarajeva.
Živi i radi u Nišu.
Born in 1981 in Ljubinje. She graduated at the Academy of Fine Arts in Trebinje, Painting Department
in 2009. During 2008 she was on study tours in Slovenia and Austria with scholarships and grants from
those countries. She participated at more than ten
group exhibitions at home and abroad. She was the
Zvono Prize finalist in 2009 for the best young BH
artists organized by the Centre for Contemporary
Art in Sarajevo. She lives and works in Nis.
Nasleđe, 2009. | Heritage, 2009
kolor print, RA3 | colour print, RA3
[email protected]
TREBINJE 129
Biografije selektora | Selectors’ biographies
Branka Vujanović
Predrag Terzić
Rođena u Sarajevu 1979. godine. Diplomirala i magistrirala na katedri za istoriju moderne umjetnosti
Filozofskog fakulteta u Beogradu. Radila kao kustoskinja u Gradskoj galeriji Collegium artisticum u
Sarajevu. Pohađa doktorski studij na Justus Liebig
Univerzitetu u Giessenu i članica je programa nezavisnih studija - Independent Studies Program (PEI)
Muzeja savremene umjetnosti Barcelona (MACBA).
Učestvovala u lokalnim i regionalnim kustoskim projektima i na internacionalnim univerzitetskim konferencijama. Živi u Barseloni i Sarajevu.
Rođen 1972. godine u Beogradu.
Na Fakultetu Likovnih umetnosti u Beogradu, odsek
slikarstvo, diplomirao 2000. godine, u klasi profesora Čedomira Vasića. Magistrirao 2004. godine,
kod istog profesora. Član ULUS-a od 2001. godine.
Nakon završetka magistarskih studija intezivnije
izlaže u zemlji i inostranstvu. Radovi se nalaze u više
privatnih kolekcija u zemlji i inostranstvu Doktorirao na Interdisciplinarnim studijama Univerziteta
umetnosti u Beogradu, na odseku iz teorije umetnosti i medija, sa tezom: Studija pogleda: pitanje
prostora i novo čitanje slike, pod mentorstvom prof.
dr Divne Vuksanović.
Born in 1979 in Sarajevo. She obtained her BA and
MA degree at the Faculty of Philosophy in Belgrade,
Department of Modern Art History. She worked as
a curator at the City gallery Collegium artisticum
in Sarajevo. Currently attending PhD studies at the
Justus-Liebig University in Giessen and is member
at the Independent Studies Program (PEI) at the
Museu d’Art Contemporani Barcelona (MACBA). Participated in local and regional curatorial projects
and international university conferences. Lives in
Barcelona and Sarajevo.
[email protected]
Born in 1972 in Belgrade. He graduated at the Belgrade Faculty of Fine Arts, Painting Department in
2000, in the class of Professor Čedomir Vasić and obtained his MA degree at the same Academy in 2004.
In 2001 he became member of the Serbian Association of Fine Artists (ULUS). After receiving his MA
he exhibits more intensely at home and abroad. His
works are part of many private collections at home
and abroad. He received his PHD degree in Interdisciplinary studies of Theory of Art and Media, at the
Univeristy of Arts, Belgrade with the thesis A Study
on View: The Question of Space and a New Reading of Painting, under the menthorship of Dr Divna
Vuksanovic.
www.predragterzic.com
http://predragterzic.wordpress.com/
DEKODIRANJA 130
Igor Bošnjak
Slobodan Vidović
Rođen 1981. godine u Sarajevu.
Diplomirao na Akademiji likovnih umjetnosti u
Trebinju, odsjek slikarstvo. Od 2007. do 2011 godine završio je magistarske studije i pohađao doktorske studije Centra za Interdisciplinarne studije
na Odseku za Teoriju umetnosti i medija Univerziteta umetnosti u Beogradu. Pretežno istražuje u
videu, konceptu i fotografiji. Osnivač je bijenala namaTREba. Bavi se kustoskom praksom video umjetnosti, te radi i kao freelance teoretičar. Trenutno
zaposlen kao asistent na Akademiji likovnih umjetnosti u Trebinju. Finalista Zvono nagrade 2010. za
najboljeg mladog BH umjetnika u organizaciji Centra za Savremenu Umjetnost iz Sarajeva.
Živi i radi u Trebinju.
Rođen u Bosanskoj Gradišci 1974. godine.
Diplomirao na Akademiji umjetnosti u Banjaluci
2002. godine. Trenutno završava magistarski studij
(odsjek slikarstvo) na Akademiji umjetnosti u Banjaluci u klasi profesora Vese Sovilja.
Dobitnik je dvije nagrade. Izlagao na više samostalnih i grupnih izložbi i rezidencijalnih projekata u
zemlji, regionu, Evropi i Americi.
Živi i radi u Banjaluci kao urednik likovnog programa
u Kulturnom centru Banski dvor.
Born in 1981 in Sarajevo. He graduated at the Academy of Fine Arts in Trebinje, Painting Department.
From 2007 to 2011 he finished (MA) and studied
(PhD) Interdisciplinary studies, Theory of Art and
Media Department at the University of Arts in Belgrade. He mostly explores in video art, concept and
photography. He is founder of the Biennial namaTREba. He is into curatorial practices in video art
and works as a freelance theorist. Currently he is
employed as assistant lecturer at the Academy of
Fine Arts in Trebinje. He was the Zvono Prize finalist
in 2010 for the best young BH artists organized by
the Centre for Contemporary Art in Sarajevo.
He lives and works in Trebinje.
He was born in Bosanska Gradiska in 1974. He
graduated at the Academy of Arts in Banja Luka in
2002 where he is currently completing his master’s
degree at the Painting Department, in the class of
Professor Veso Sovilj. He has received two awards.
He had several solo and group exhibitions as well
as residential projects at home and in the region,
Europe and the USA. He lives and works in Banja
Luka as editor of the programme for fine arts at the
Cultural centre Banski dvor.
[email protected]
www.slobodanvidovic.com
www.igorbosnjak.com
[email protected]
DECODING 131
CIP - Katalogizacija u publikaciji
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ISBN 978-86-85567-37-7
COBISS.CG-ID 25422096
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