3BGD 2013 by Treći Beograd

TREĆI BEOGRAD / THIRD BELGRADE Aktivnosti i definisanje Trećeg Beograda / Third Belgrade’s activities and definition

2013

Edicija 3BGD knjiga 3

Beograd, 2013.

SADRŽAJ / CONTENTS: KALENDAR 2013 / CALENDAR 2013 UČENJE NA KONFLIKTIMA U (RE)DEFINISANJU TREĆEG BEOGRADA / LEARNING FROM CONFLICTS IN (RE) DEFINING THIRD BELGRADE /Stevan Vuković/

I AKTIVNOSTI U OKVIRU URBAN INCUBATOR-A I GALERIJE TREĆI BEOGRAD / ACTIVITIES WITHIN URBAN INCUBATOR AND THIRD BELGRADE GALLERY

LINIJA ZA SAVAMALU / LINE FOR SAVAMALA /Selman Trtovac/ DUALNOST ROMANTIZMA / THE DUALITY OF ROMANTICISM /Yann Ricordel/ JA NISAM MOJE TELO / I AM NOT MY BODY /Jovana Popić/ REPOZICIJA / RE-POSITIONING /Tamara Laketić/ TAČKA, ZAREZ. / FULL STOP, COMA. /Bojana Atlija/ ZRNO PO ZRNO – POGAČA, CIGLA PO CIGLA – PALAČA / SEED BY SEED – BANNOCK, BRICK BY BRICK – PALACE /Marica Radojčić/ REFRAMING BRANISLAVA NIKOLIĆA / REFRAMING OF BRANISLAV NIKOLIĆ /Čedomila Marinković/ KAFA DOBRA, RED DUGAČAK / THE BETTER THE COFFEE, THE LONGER THE QUEUE /Predrag Terzić/ PSIHOGEOGRAFIJA PERIFERIJE U SRCU GRADA / PSYCHO GEOGRAPHY OF SURBS IN THE HEART OF CITY /diSTRUKTURA/ ARTSAMPLE: RAZGOVORI SA ODABRANIM MLADIM UMETNICIMA / ARTSAMPLE: TALKS WITH SELECTED YOUNG ARTISTS /Sandra Stojanović/ BRODOVI: ZAMIŠLJENI PROSTORI / BOATS: SPACES OF IMAGINATION /Julija Blawert/ VIEWPOINTS / VIEWPOINTS /Lori Boldvin/ IZLOŽBA 34. I 35. SAZIVA KOLONIJE U JALOVIKU / EXHIBITION OF THE 34TH AND 35TH ART COLONY IN JALOVIK KONCERT SAVREMENE KLASIČNE MUZIKE / CONCERT OF CONTEMPORARY MUSIC MAKE A WISH / MAKE A WISH /Ana Banduka/ MAKE A WISH / MAKE A WISH /Ksenija Jovišević/ ARHITEKTURA SEĆANJA/UNUTRAŠNJI PEJZAŽ / ARCHITECTURE OF MEMORY/INNER LANDSCAPE REFLEKSIJE IZ OŠTEĆENOG ŽIVOTA / REFLECTIONS FROM DAMAGED LIFE /Predrag Terzić/ IMAGINARNI GRADOVI STVARNOG SVETA: AVGANISTANSKI DNEVNIK / IMAGINARY CITIES OF THE REAL WORLD: AFGHAN DIARY /Konstantin Novaković/ 2

4 10

17 19 23 27 31 35 39 43 47 51 55 65 69 73 77 79 82 86 87 91

IZGUBLJENA BLAGA SAVAMALE / THE LOST TREASURE OF SAVAMALA /Stevan Kojić/ WE ARE LIVING IN A BEAUTIFUL WOURLD – GRAZ / WE ARE LIVING IN A BEAUTIFUL WOURLD – GRAZ /diSTRUKTURA/ KONAČNO SAMI/LETNJI DNEVNIK/SEĆANJA U NESTAJANJU / FINALLY ALONE/SUMMER DIARY/FADING MEMORY /Željka Momirov i Aleksandar Rafajlović/ IGLO / IGLOO /Ursula Keller/

95 99 103 107

II AUTORSKI RADOVI TREĆEG BEOGRADA / ART PROJECTS OF THIRD BELGRADE

111 OSTRVO SNA ILI SAN O OSTRVU / DREAM ISLE OR DREAM OF AN ISLAND /Radoš Antonijević/ 113 ZAJEDNIČKA GOZBA / COMMON DINING TABLE 117 KOLEKTIVNI SAN / THE COLLECTIVE DREAM /Andrea Schlemmer/ 121 SLIKA 2013 – TREĆI BEOGRAD / IMAGE 2013 - THIRD BELGRADE /Sunčica Lambić-Fenjčev/ 125 KINESKA SLIKA TREĆEG BEOGRADA “MOŽEMO LI VOLETI ŠTO NE POZNAJEMO” / CHINESE PAINTING OF THIRD BELGRADE “CAN WE LOVE WHAT WE DO NOT KNOW” /Selman Trtovac/ 128 MOŽEMO LI VOLETI ŠTO NE POZNAJEMO? / CAN WE LOVE WHAT WE DO NOT KNOW? /Radoš Antonijević/ 132 DOKUMENTACIJA, DEČJE BOJANKE I PEČVORK / DOCUMENTATION, CHILDREN COLOUR BOOKS AND PATCHWORK /Sandra Stojanović/ 134 MOŽEMO LI VOLETI ŠTO NE POZNAJEMO? / CAN WE LOVE WHAT WE DO NOT KNOW? /Olivera Parlić/ 138

III DEFINISANJE TREĆEG BEOGRADA / DEFINITION OF THIRD BELGRADE

ŽIVOTNI CIKLUS MALE UTOPIJE / LIFE CYCLE OF ONE SMALL UTOPIA /Selman Trtovac/ TREĆI BEOGRAD, NA PUTU / THIRD BELGRADE, ON A JOURNEY /Radoš Antonijević/ NOVA KOLEKCIJA / NEW COLLECTION /Radoš Antonijević/ PROJEKAT NOVA KOLEKCIJA / PROJECT NEW COLLECTION /Sandra Stojanović/ ČLANOVI / MEMBERS

141 142 150 159 161 163

KALENDAR 2013 Izložbe - Galerija Osmica

Exhibitions - Osmica Gallery

Autorski radovi 3BGD

Art Projects Of Third Belgrade

Prezentacije 3BGD

Presentations of Third Belgrade

Izložbe - Galerija Treći Beograd

Exhibitions - Third Belgrade Gallery

ArtSample

Radionice

Workshops

Ostalo

Other

GALERIJA OSMICA - UIB

GALLERY OSMICA - UIB

/23. mart/ 01. Zajednička gozba Otvaranje programa ‘Mi volimo i umetnost drugih’

/March 23/ 01. Common Dining Opening of the We also love the art of others programme

/20. april/ 02. Prezentacija publikacije 3BGD 2012 /27. april/ 03. Produkcija prostora Diskusija i predavanje prof. dr Jelene Stojanović /11. maj/ 04. Savamala ArtSample #1 Razgovor sa Ksenijom Jovišević i Anom Bandukom /20, 22, 24, 25. maj/ 05. Viewpoints 1 Radionica performansa sa Lori Boldvin (US) /27, 29, 31. maj i 1. jun/ 06. Viewpoints 2 Radionica performansa sa Lori Boldvin (US) /15. jun/ 07. Savamala ArtSample #2 Razgovor sa Lidijom Delić i Jovanom Vasić /5. jul/ 08. Linija za Savamalu Performans Selmana Trtovca i Veljka Pavlovića /7 - 17. jul/ 09. Repozicija Izložba Vuka Ninkovića 4

CALENDAR 2013

/April 20/ 02. Presentation of the 3BGD 2012 publication /April 27/ 03. Production of space Discussion and lecture by Prof. Dr Jelena Stojanović /May 11/ 04. Savamala ArtSample #1 Artist talk with Ksenija Jovišević and Ana Banduka /May 20, 22, 24 and 25/ 05. Viewpoints 1 Performance workshop with Lori Baldwin (US) /May 27, 29, 31 and June 1/ 06. Viewpoints 2 Performance workshop with Lori Baldwin (US) /June 15/ 07. Savamala ArtSample #2 Artist talk with Lidija Delić and Jovana Vasić /July 5/ 08. Line for Savamala Performance by Selman Trtovac and Veljko Pavlović /July 7-17/ 09. Re-position

/20. jul/ 10. Savamala ArtSample #3 Razgovor sa Marinom Marković i Borisom Šribarom /17. avgust/ 11. Savamala ArtSample #4 Razgovor sa Bojanom Atlijom i Anastasiom Tasić /19 - 31. avgust/ 12. Paradoksalni pejzaž Izložba Magali Sanjeire, umetnice na rezidencijalnom boravku /30. avgust/ 13. Brodovi – Mesta imaginacije Interaktivna radionica sa Julijom Blavert (DE) /17 - 20. septembar/ 14. Ja nisam moje telo Performans i izložba Jovane Popić /28. septembar – 5. oktobar/ 15. Tačka, zarez. Izložba Bojane Atlije i JEVREMA /6. oktobar/ 16. Savamala ArtSample #5 Razgovor sa Karkatag kolektivom /18. oktobar - 8. novembar/ 17. Zrno po zrno – pogača, cigla po cigla - palača Izložba Marice Radojčić /9. novembar/ 18. Savamala ArtSample #6: Razgovor sa Tijanom Radenković i Andreom Dramićanin /15 - 17. novembra/ 19. Intervencije i izložbe Nine Todorović i Predraga Terzića, diSTRUKTURE i Branislava Nikolića u okviru zatvaranja UiB /21. decembar/ 20. Savamala ArtSample #7: Razgovor sa Nemanjom Nikolićem i Savom Kneževićem

Exhibition of Vuk Ninković /July 20/ 10. Savamala ArtSample #3 Artist talk with Marina Marković and Boris Šribar /August 17/ 11. Savamala ArtSample #4 Artist talk with Bojana Atlija and Anastasia Tasić /August 19-31 / 12. Paradox landscape Exhibition of Magali Sanheira, artist at Third Belgrade’s residency programme /August 30 / 13. Boats – Places of imagination Interactive workshop with Julia Blawert (DE) /September 17-20/ 14. I am not my body Performance and exhibition of Jovana Popić /September 28 – October 5 / 15. Full stop, coma. Exhibition of Bojana Atlija and JEVREM /October 6/ 16. Savamala ArtSample #5 Artist talk with Karkatag collective /October 18 – November 8/ 17. Seed by seed – bannock, brick by brick palace Exhibition of Marica Radojčić /November 9/ 18. Savamala ArtSample #6: Artist talk with Tijana Radenković and Andrea Dramićanin /November 15 - 17/ 19. Inerventions and exhibitions of Nina Todorović and Predrag Terzić, diSTRUKTURA and Branislav Nikolića as part of closing of the Urban Incubator /December 21/ 20. Savamala ArtSample #7: Artist talk with Nemanja Nikolić and Sava Knežević 5

GALERIJA TREĆI BEOGRAD

GALLERY THIRD BELGRADE

/8 - 22. jun/ 21. Izložba 34. i 35. saziva Jalovičke kolonije

/June 8 - 22 / 21. Exhibition of the 34th and 35th art colony gathering in Jalovik

/9. jul/ 22. Koncert savremene klasične muzike Klasa Klausa Langea (AT)

/July 9/ 22. Contemporary classical music concert Class of Klaus Lange (AT)

/7 - 14. septembar/ 23. Make a wish Izložba Ksenije Jovišević i Ane Banduke

/September 7 - 14/ 23. Make a wish Exhibition of Ksenija Jovišević and Ana Banduka

/15 - 29. septembar/ 24. Arhitektura sećanja / Unutrašnji pejzaž Izložba Nine Todorović i Svetlane Volic /29. septembar/ 25. Imaginarni gradovi stvarnog Avganistanski dnevnik Predavanje Konstantina Novakovića

sveta

/September 15 - 29/ 24. Architecture of memory / Inner landscape Exhibition of Nina Todorović and Svetlana Volic /

/5 - 20. oktobar/ 26. Izgubljena blaga Savamale Izložba Stevana Kojića

/October 5 - 20/ 26. Lost treasures of Savamala Exhibition by Stevan Kojić

/26 - 30. oktobar/ 27. We are living in a beautiful woUrld - Graz Izložba diSTRUKTURE

/October 26 - 30/ 27. We are living in a beautiful woUrld - Graz Exhibition by diSTRUKTURA

/2 - 29. novembar/ 28. Konačno sami: Letnji dnevnik / Sećanja u nestajanju Izložba Željke Momirov i Aleksandra Rafajlovića /30.novembra / 29. Iglo Izložba Marlen Hauseger, rezidencijalnom boravku

/September 29/ 25. Imaginary cities of the real world / Afghan diaries Lecture by Konstantin Novaković

umetnice

/November 2 - 29/ 28. Finally alone: Summer diary / Fading memory Exhibition by Željka Momirov and Aleksandar Rafajlović /November 30/ 29. Igloo Exhibition by Marlene Hausegger, artist at Third Belgrade’s residency programme

OSTALO OTHER /9. mart/ 30. Bristol diving school, performans Trećeg Beograda pod nazivom ‘San’ preko Skype /24. maj/ 31. Poseta Josipu Vaništi u okviru njegove retrospektivne izložbe u Muzeju suvremene 6

/March 9/ 30. Bristol diving school, performance by Third Belegrade called ‘Dream’ over Skype /May 24/ 31. Visiting Josip Vaništa as part of his

umjetnosti, Zagreb /6 - 8. jun/ 32. Prva sastanak mreže Green ArtLab Alliance (GALA) u Mastrihtu, Holandija /21 - 23. jun/ 33. Treća redovna skupština Nezavisne kulturne scene (NKSS), Vršac /1 - 31. avgust/ 34. Rezidencijalni boravak Magali Sanheire (FR) /6 - 9. septembar/ 35. Kolonija u Ečki Koncipiranje projekta ‘Možemo li voleti ono što ne poznajemo?’ /1.septembar – 30. novembar/ 36. Rezidencijalni boravak Marlen Hauseger (AT) /10 - 13. oktobar/ 37. Poseta Gracu i perfomans ‘Poslednji san’ u Mlinu, Švarcau, Austrija /17 i 18. oktobar/ 38. Konferencija i svečano zatvaranje projekta Urbani inkubator u 2013. godini /2. novembar/ 39. Predstavljanje programa ‘Mi volimo i umetnost drugih’ pri festivalu Vizualizator u UK Parobrod /7. novembar/ 40. Prezentacija Trećeg Beograda u okviru pregleda umetničke scene u Kulturnom centru Beograd /5 - 19. decembar/ 41. Izložba ‘Možemo li voleti ono što ne poznajemo?’ u Savremenoj galeriji Zrenjanin /8. decembar/ 42. Performans Marine Marković i predstavljanje Trećeg Beograda na Bone festivalu, Bern, Švajcarska

retrospective exhibition at the Museum of Contemporary art in Zagreb /June 6 - 8/ 32. Green ArtLab Alliance (GALA) network kickoff meeting in Maastricht, the Netherlands /June 21 - 23/ 33. Independent Cultural Scene of Serbia’s third annual meeting, Vršac /August 1 - 31/ 34. Residency of Magali Sanheira (FR) /September 6 - 9/ 35. Art colony in Ečka Planning ‘Can we love what we do not know?’ project /September 1 – November 30/ 36. Residency of Marlene Hausegger (AT) /October 10 - 13/ 37. Visiting Graz and performing ‘The Last Dream’ at Die Muhle, Schwarzau, Austria /October 17 and 18/ 38. Conference and official closing of the Urban Incubator project in 2013 /November 2/ 39. Presentation of the ‘We also love the art of others’ programme at Vizualizator festival held in UK Parobrod /November 7/ 40. Presentation of Third Belgrade at the art scene overview held in the Cutural Centre Belgrade /December 5 - 19/ 41. ‘Can we love what we do not know?’ exhibition at Contemporary Gallery in Zrenjanin /December 8/ 42. Marina Marković’s perfomance and presention of Third Belgrade at the Bone festival, Bern, Switzerland

Mart/March

April/April

Maj/May

Jun/June

Jul/July

02 03 04 08

05 06

08 09

21 30

32 09

21 22 23

05 01 05

26 27

28 29

30 31 8

33 33

Avgust/August

Septembar/September

Oktobar/October

Novembar/November 17

Decembar/December 01

17 28 36 39

17 28 36 40

34 34

17 26 36 38

12 12

34 34

15 24 25 36 15

20 20

31 9

Učenje na konfliktima u Learning from Conflicts (re)definisanju Trećeg in (Re) Defining Third Beograda Belgrade

/Autor: Stevan Vuković/

/Author: Stevan Vuković/

Imenovanje kolektiva je čin proizvodnje njegove osnovne referencijalne karakterstike. Svi osim ovog elementa samoopisivanja mogu da ostanu podložni stalnim promenama u toku njegovih razvojnih faza. Naziv uvek ima konstitutivnu ulogu, i stoga je više nego potrebno da se strateški odluči o specifičnoj politici imenovanja pre nego što se uđe u pregovore o nekom pojedninačnom nazivu. Obzirom da je skoro nemoguće konstruisati naziv bez upotrebe reči ili odnosa spram fraza koje su već kontaminirane kolokvijalnim i specijalističkim upotrebama i nabijene emotivnim i intelektualnim sadržajem, ova politika mora da obezbedi dovoljno performativnog prostora za ono što ostaje neimenljivo u takvom imenovanju. Svrha ovog teksta je da potraži takva mesta u okviru samoopisivanja ovog kolektiva, koji je u fazi redefinisanja svog identiteta. U pregledavanju tri publikacije u okviru ‘Edicije 3BGD’, često se može naići na različite nazive za kolektiv koji ih izdaje. U katalogizaciji publikacija (CIP) stoji da je to ‘NUA Treći Beograd’, odnosno ‘Nezavisna umetnička asocijacija Treći Beograd’, dok je na strani 58 kao naziv navedeno ‘Nezavisno umetničko udruženje Treći Beograd’. U ugovoru sa umetničkim udruženjem Kolektivna dejstva, objavljenom na strani 45 te iste knjige, navodi se ‘Umetnička zadruga Treći Beograd’, dok je u tekstu pod nazivom “Linija za Savamalu”, u trećoj knjizi, to ‘Slobodna umetnička zadruga Treći Beograd’. Razlike u imenovanju kolektiva se konačno pokazuju kao označitelj za potpuno različite, čak međusobno isključive vizije njegovog karaktera i sudbine, kao umetničke grupe u krizi i procesu transformacije i umetničke zadruge u propasti. Analogno Levi-Strosovom primeru načina na koji dve podgrupe plemena Vinebago (jednom od

Naming a collective is an act of producing one of its basic referential features. All but this element of its self-description can remain liable to constant changes in the course of its developmental phases. Name always has a constitutive role, and therefore it is more than needed to strategically decide upon the specific politics of naming before coming to negotiate on some particular one. Considering that it is almost impossible to construct a name without using words or referring to phrases already contaminated with colloquial and specialized uses and loaded with emotional and intellectual content, this politics has to ensure enough performative space for what remains unnamable in such a nomination. The purpose of this text is to look for those spaces within self-naming descriptions of this collective, which is in the phase of redefining its identity. Browsing through three publications of ‘Edicija 3BGD’, one can frequently encounter a different naming for the collective that publishes it. The Cataloguing in Publication (CIP) states that it is ‘NUA Treći Beograd’, i.e. ‘Nezavisna umetnička asocijacija Treći Beograd’, while on the page 58 its name is listed as ‘Nezavisno umetničko udruženje Treći Beograd’. The agreement with the Collective Action art group, published on page 45 of the same book, names it ‘Umetnička zadruga Treći Beograd’, while in the text titled “Line for Savamala”, in the third book, its name is ‘Slobodna umetnička zadruga Treći Beograd’. The differences in naming the collective finally appear as the signifiers for totally different, even mutually incompatible visions of its character and fate, as the fate of an art group in crisis and transformation, or of an art zadruga in demise. Exactly like in Levi-Strauss’s example of the

plemena na Velikom Jezeru u SAD) vizualizuju svoj kolektiv, kao zbir koncentričnih krugova ili entitet podeljen na dva dela pravom linijom, mogu se sagledati i vizije Trećeg Beograda kao dobro uređene organske zajednice (zadruga) ili kao heterogene zajednice sa unutrašnjim podelama, u procesu traganja za načinima da se nosi sa njima (umetnička grupa). U više svojih tekstova Slavoj Žižek ovaj prvi tip vizije označava kao ‘konzervativno-korporativni’, a drugi kao ‘revolucionarno-antagonistički’. Organičko viđenje zajednice antagonizme u grupi tretira kao nešto destruktivno, što vodi propasti njenih potencijala, i rešava ih ili ućutkivanjem ili podelom zajednice na dva dela, dok ih ovo drugo viđenje tretira kao nužne, pa čak i konstitutivne. To, naravno, ne mora da znači da su svi oni koji zajednice predstavljaju kao podeljene revolucionari po definiciji, niti da su oni koji se fokusiraju na zajedničke karakteristike i njihovo nepodeljeno jedinstvo nužno konzervativni. To samo znači da je uviđanje antagonizama u datoj zajednici nužna početna tačka njihovog transformativnog razvoja. Ne postoji lista takvih odluka koje bi se mogle doneti unapred, kada se formira neki kolektiv, a koje bi mogle da osiguraju optimum benefita za sve njegove članove i obezbede im budućnost lišenu unutrašnjih sukoba. Nema ni apriornih racionalnih metoda za izbegavanje emotivne ambivalencije svakog pojedinog člana prema grupi i drugim članovima grupe, niti za kroćenje želja i balansiranje interesa učesnika u meri u kojoj više ne bi bilo kompetitivnosti i isključivanja, hegemonije i ućutkivanja. Specifična svrha nazivanja Trećeg Beograda zadrugom je sigurno bila u generisanju takvog naziva koji bi imao lokalni nepretenciozni šmek, i bio kompatibilan sa jezikom samoopisivanja raznih kolektiva u savremenoj umetnosti, koji uključuje termine kao: proces, netvorking, fleksibilnost, kritika, horizontalnost, kolaboracija, kooperacija, deljenje, solidarnost, itd. Da bi se upotrebili u vidu specifičnom za karakteristike koje identitet grupe čine izrazitim, ovi termini treba da budu prisvojeni i redefinisani internim pregovorima, kroz proces u kome interna struktura grupe postaje takođe definisana. Umetnički kolektivi se formiraju da bi bili zajednice za kolektivnu kulturnu akciju, ali takođe i kognitivne i komunikacione zajednice, koje treba da nađu načine da generišu specifične diskurse samoopisivanja, kao i proizvodnje značenja u umetnosti. Pitanje je tada kako i u kojoj meri je ter-

way two subgroups of Winnebago (one of the Great Lake tribes, in US), visualize their collective as either a set of concentric circles, or an entity that is divided into two, by a straight division line, one can here see visions of Third Belgrade either as a well ordered organic community (zadruga) or as a heterogeneous community with internal divisions, in the process of searching for ways of coping with them (art group). In several texts by Slavoj Žižek, the first type of view is labeled as ‘conservativecorporatist’, while the other as ‘revolutionaryantagonistic’. The organic view of the community treats antagonisms in the group as destructive, leading to the demise of its potential, and settles them by silencing or by splitting the community into two, while the other view treats them as inevitable, and even as constitutive. That, of course, doesn’t have to mean that those who present communities as divided are revolutionaries by definition, nor that those who focus on common features and undivided unity are necessarily conservative. It only means that acknowledging the antagonisms within a given community is a necessary starting point to its transformative development. There is no list of decisions one can make at the outset when forming a collective that could assure optimum of benefits to all its members and provide them with a future devoid of internal conflicts. There are neither a priori rational methods to avoid emotional ambivalences of each individual towards the group and other group members, nor to tame desires and balance interests of the participants to the level on which there would be no competitiveness and exclusion, no hegemony nor silencing. The specific goal of naming Third Belgrade as zadruga, was surely to generate such a name that has a local non pretentions flavor to it, and is compatible with the language of self-descriptions of various contemporary art collectives, including terms such as: process, networking, flexibility, critique, horizontality, collaboration, cooperation, sharing, solidarity, etc. To make their use specific to the features that will make the identity of the group distinctive, these terms have to be appropriated and redefined via internal negotiations, through the process in which the internal structure of the group is becoming defined as well. Art collectives get formed to be communities for collective cultural action, but also cognitive and communicative commu11

min zadruga prisvojen, i kakav je odnos njegove upotrebe u diskursu Trećeg Beograda u odnosu na standardizovanije načine upotrebe tog termina u društvenim naukama? Od kada je Vuk Karadžić skovao taj termin, kao neologizam, i definisao ga u svom Srpskom rečniku, objavljenom u Beču 1818, kao plures familiae in eadem domo (more Serbico), preko Valtazara Bogišića, koji ga je uveo u francuski i Filipa Moslija, koji ga je uveo u engleski, zadruga je termin koji denotira proširenu porodicu koja se sastoji od više ‘osnovnih’, koje dele stanište, zemlju, stoku i oruđa. S druge strane, za neke lokalne intelektualce, poput Svetozara Markovića, osnivača utopijskog socijalizma u Srbiji, zadruga je bila “najčistija forma zajedništva” koja ima moć da “uzdigne društvo od egoizma do altruizma”. Čak i ako se izostavi patrijarhalni aspekt utopijskog potencijala zadruge, koji koncept Svetozara Markovića čini prilično problematičnim, vizija zadruge kao ‘porodice porodica’ ograničava njenu inkluzivnost. Dok se proširena porodica zadruge može napustiti veoma lako, pitanje je kako bi se postajalo dovoljno bliskim članovima zadruge da bi oni nekoga počeli da tretiraju kao člana porodice, i kakve bi bile procedure postajanja članom? Konačno, pored šarma tog genius loci, toga da se bude more Serbico, šta je tačno to što zadruga može da ponudi, a što druge vrste kolektivnog organizovanja ne mogu? Možda ušuškana toplina doma koja mnogim nomadskim umetnicima često nedostaje? Ili jednostavnost najbazičnijih oblika zajedničkog bivstvovanja, poput zajedničkog obedovanja i zajedničkog spavanja bez konceptualnog okvira oko svega toga? Moglo bi se tvrditi da je jaki koncept kolektiva, poput koncepta zadruge dobar kontrapunkt ‘Trećem Beogradu’ kao terminu preuzetom iz urbanističke terminologije Beograda, u kojoj je “Prvi Beograd stari deo grada, drugi Beograd je Novi Beograd”, dok je “Treći Beograd deo grada na levoj obali Dunava”. U tom smislu, umetnička grupa je ipak malo tehnički izraz, iako je mnogo precizniji što se tiče aktuelnog skupa okolnosti. Ali, da bi se donela dobro zasnovana odluka o ovim stvarima, mora se uzeti u obzir to da li se neko zalaže za model jedinstvenog činioca (homogenog kolektiva), ili kolektivnih odluka koje donose individue sa različitim interesima (heterogenog kolektiva), ili samo međusobno zavisne agregacije individualnih odluka u kolektivnu akciju (grupe individua koja deluje kolektivno, ali bez toga da pritom čini kolektiv). 12

nities, which have to find ways to generate specific discourses of self-description, and of production of meaning in art. The question is then how and in what extent was the term zadruga appropriated, and what is the relation of its use in the discourse of Third Belgrade, to the more standardized use of that term in social sciences? Since Vuk Karadžić has coined the term, as neologism, and has defined it in his Serbian dictionary, published in Vienna in 1818, as plures familiae in eadem domo (more Serbico), through Valtazar Bogišić, who has introduced it into French, and Philip Mosley, into English, zadruga is a term denoting an extended family made of several ‘nuclear’ families, sharing a common livelihood, land, livetock and tools. On the other hand, for some local intellectuals, as Svetozar Marković, the founder of utopian socialism in Serbia, zadruga was “the purest form of collectivism” which has the power to “elevate society from egoism to altruism”. Even if one leaves out the patriarchal aspect of zadruga’s utopian potential, which makes the concept Svetozar Marković quite problematic, the vision of it being ‘a family of families’ limits its inclusivity. One can easily leave the extended family of zadruga, but how could one become as close to the zadruga members to start being considered as part of the family, and what would be the procedure and the price of one becoming a member? Finally, besides the charm of genius loci, of being something more Serbico, what is exactly that the concept of zadruga has to offer, which other types of collective organizing do not? Perhaps it is the cozy warmth of a home that most of the nomadic artists miss sometimes? Or the simplicity of the most basic forms of being together, such as eating together and sleeping together without having a conceptual frame to it? One could argue that the strong concept of a collective, such as the one of zadruga, is a good counterpart to the ‘Third Belgrade’ as a term taken from Belgrade’s urbanistic terminology, in which “First Belgrade is the old part of the city, second Belgrade is New Belgrade”, while the “Third Belgrade is a part of the city on the left bank of the Danube”. In that respect art group is a bit technical, even though more precise in the actual set of circumstances. But, to make a well founded decision on these issues, one has to take into consideration if one stands for the single actor model (homog-

Razviti model jedinstvenog činioca je nešto vrlo zahtevno, i umetnici koji se uključe u taj process teže da prestanu da produkuju radove koje samostalno potpisuju, da bi se potpuno identifikovali sa kolektivom. Što se tiče druga dva modela, ako se odluke donose jednoglasno, uzimajući u obzir pojedinačne interese, ili se donose prostom većinom, je ponekad različito samo po tome koliko je vremena potrebno jednom delu grupe da ubedi u nešto drugi deo, dok bi rezultati mogli biti isti, ukoliko se radi o kolektivnoj akciji. Ali samopercepcija individue koja odabere da radi kolaborativno i one koja odluči da radi u okviru strukture kolektiva, nisu iste. Štaviše, kako se oseća neko kao pojedinac u trenutku kada većina zastupa nešto sa čim se taj neko ne slaže, ili u suočenju sa čime se oseća neprijatno, veoma se razlikuje u svakom od ovih navedenih slučajeva. Učešće u kolektivnoj akciji nije nikada u potpunosti podložno racionalnim pregovorima, jer ono ne može biti svedeno na prostu kalkulaciju utroška i dobiti, koja ne uzima u obzir emotivne i druge segmente nečijeg afektivnog života. Naravno da postoji iracionalni aspekt svakog segmenta svakog pojedinčanog modusa kolektivnog rada. Nema saznanja bez osećanja, i nema odluke bez emotivnog angažovanja. Stoga, čak i nam se to ne nameće na prvi pogled kao nešto jako bitno, recipročnost u kolektivnom radu nije nešto što se može svesti samo na recipročnost fizičkog i intelektualnog rada, već mora da uključi i recipročnost energetskih, pa čak i emotivnih ulaganja. Uzimanje u obzir strasti i osećanja svakog pojedinačnog člana grupe je jedan od ključeva da se ona razvije u kolektiv. Većina kolektiva spolja deluje kao mnogo više homogena nego što je to za insajdera. Spolja se interesi različitih članova kolektiva obično vide kao mnogo više u skladu sa kolektivnim interesom, i mnogo više u međusobnom saglasju, nego što bi neki član kolektiva to ikada video. Može se čak desiti i da, na osnovu ‘narcizma malih razlika’, što se više članovi kolektiva međusobno približe putem zajedničkih rituala, delovanja i načina mišljenja, to snažnije postaju međusobne podele. Tada se neizbežno mnoštvo drugih društvenih pripadnosti svakog od članova sve manje toleriše, što onda zahteva više ulaganja vremena i energije u rešavanje konflikata između različkitih normativnih zahteva. Konflikte nije moguće eliminisati pukom

enous collective), for collective decisions made by individuals with different interests (heterogeneous collective), or just an interdependent aggregation of individual choices into collective action (a group of individuals acting collectively, but without being a collective). Developing a single actor model is quite painstaking, and the artists that get involved in that process tend to stop producing works which they individually sign, in order to fully identify with the collective. Regarding the other two models, if the decisions are made unanimously, taking into consideration individual interests, or by majority rule, is sometimes just a matter of time one part of the group has to spend in persuading the others, while the result might be the same, if it is a collective action. But the self-perception of the individual choosing to come together to work collaboratively, or deciding to work together under a collective structure, is not. Even more, the way one feels as an individual when the majority is strongly advocating for something that one does not agree with, or is simply not comfortable with, significantly differs in each of the cases. Participation in a collective action is never entirely negotiable in a rational manner, because it cannot be reduced to a simple cost-benefit calculation which does not take into account emotions and other parts of one’s affective life as well. Of course there is an irrational aspect to each of the segments and to every particular mode of collective work. There is no cognition without feeling, and there is no decision making without emotional involvement. Therefore, even though it does not strike us as something very important on the first glance, reciprocity in the collective work is not something that could be reduced to the reciprocity of physical or intellectual labor, but has to include the reciprocity of energetic and even emotional investments. Taking into consideration passions and feelings of each group member is one of the keys for it to develop into a collective. From the outside, most of the collectives appear as if being much more homogenous than they are for the insider. From the outside, the interests of different members of the collective tend to show as if being much more in accordance with the collective interest, and much more in mutual accordance, than it could ever seem to the insider. It may even happen that, based on the ‘narcissism of small dif13

odlukom da se kolektivni interes stavi ispred ličnog; umesto toga, ceo kolektiv treba da se angažuje u kontinuiranim transparentnim diskusijama o načinima kako da se ti konflikti rešavaju, i kako da se uči iz refleksije o njima. Bez određenog stepena emocionalnog ulaganja nema kolektivnog identiteta. Da bi se prošlo kroz proces konsenzualnog odlučivanja, mora se imati jak osećaj pripadništva kolektivu koji osnažuje svakog od članova, bez obzira na to koliko vremena i stresa to pripadništvo zahtevalo. Ako neko počne da oseća teret podređivanja svojih individualnih potreba, sposobnosti, pa čak i snage zarad dobrobiti kolektiva, sa tim kolektivom će uskoro biti gotovo. To je početak sloma integrativnih mehanizama tog kolektiva. Diskurzivni okviri za kolektivni identitet se proizvode i održavaju kroz pregovaranja i konflikte različitih orjentacija koje izražavaju mnogostruke i međusobno kontrastirane potrebe članova kolektiva. Ukoliko je osećaj pripadnosti kolektivu dobro razvijen, koflikti se obično veoma lako razrešavaju.

ferences’, the closer the members of the collective get in sharing rituals, practices and manners of thought, the stronger the internal divides may become. Then the unavoidable multiplicity of other social affiliations of each of the members comes to be less tolerated, which then requires higher investment of time and energy into managing conflicts between their normative claims. It is not possible to eliminate conflicts by deciding to put the collective interest before personal; rather, the whole collective needs to engage in ongoing transparent discussions, to find ways of handling them, and in learning from reflecting on them. Without a degree of emotional investment there is no collective identity. In order to go through the process of consensual decision-making, one has to have a strong feeling of being a part of a collective which empowers each member, regardless of how much time and stress that costs. If one starts feeling the burden of subsuming one’s individual needs, opportunities, and even power for the good of the collective, the collective is done with quite soon. That is the beginning of the breakdown of collective’s integrative mechanisms. The discursive frames of the collective identity are produced and maintained through negotiations and conflicts between different orientations that express multiple and contrasting requirements of the members of a collective. If the feeling of belonging to the collective is well developed, the conflicts tend to be solved easily.

I Aktivnosti u okviru Urban incuBator-a i galerije TreÄ&#x2021;i Beograd / Activities within Urban Incubator and Third Belgrade gallery

Linija za LINE FOR Savamalu SAVAMALA 18

Linija za Savamalu

Line for Savamala

crtež - video - performans

drawing - video - performance

5. jul 2013. godine

July 5, 2013

Galerija Osmica, Kraljevića Marka 8

Osmica gallery, Kraljevića Marka 8

Urban Incubator/Savamala reinvents

itself

/Autor: Selman Trtovac/

/Author: Selman Trtovac/

Slobodna umetnička zadruga Treći Beograd je povodom retrospektivne izložbe Josipa Vanište u Muzeju suvremene umjetnosti putovala u maju mesecu 2013. godine u Zagreb, što je u prenesenom smislu predstavljalo povlačenje linije između Beograda i Zagreba, odnosno kolektivni umetnički akt Trećeg Beograda. Motiv za to, naročito putovanje, jeste volja umetnika da vide Vaništinu liniju - sliku koju je Vaništa naslikao još davne 1961. godine. Umetnički rad Linija za Savamalu je nastao nakon putovanja u Zagreb i predstavlja reakciju na to putovanje, odnosno svojevrstan umetnički dijalog dva umetnika, Veljka Pavlovića i Selmana Trtovca, u kontekstu beogradske četvrti Savamale, koji se može razumeti i kao posledica susreta sa Vaništinom linijom, odnosno prazninom, koju on često pominje. Tokom pripreme ovog rada pitanje kontinuiteta sa Vaništinom linijom je za oba umetnika bilo veoma važno pitanje. Istorijski, kulturni, prostorni, estetski, koncepcijski, jezički, politički, kontinuitet identiteta, senzibilitet, etika, sve to je ovom umetničkom aktu dalo jedan dodatni smisao. Upravo se iz tog razloga dijalog u ovom konkretnom slučaju može razumeti i kao deo jedne šire umetničke strategije, ali i unutrašnje strategije dva umetnika potpuno različitih poetika. Hronološki gledano, početni element u procesu nastajanja rada Linija za Savamalu je bio crtež. Crtanje je osnovni oblik vizuelnog mišljenja, može se čak reći da u procesu crtanja učestvuje čitavo čovečanstvo. Svi učestvujemo u univerzalnom principu crtanja u prenesenom smislu reči. Kroz banalne, svakodnevne radnje mi stvaramo izvestan poredak, dovodimo stvari u određeni red, odnosno mi neprestano komponujemo. Iz takvog shvatanja

In May 2013, Independent artistic association Third Belgrade travelled to the Museum of Contemporary Art in Zagreb in order to visit Josip Vaništa’s retrospective exhibition, which symbolically meant drawing a line between Belgrade and Zagreb, i.e. a collective act of the Third Belgrade. Motivation for this, and in particular the journey, was found in joined willingness to see Vaništa’s line – painting that Vaništa made way back in the year 1961. Line for Savamala artwork was conceived after the trip to Zagreb and represents one reason for this journey, or more precisely a kind of a dialogue between two artists, Veljko Pavlović and Selman Trtovac, within the context of Savamala; it is a consequence of the encounter with Vaništa’s line, and the great void that he always refers to. During the preparation, the issue of continuity with Vaništa’s line was essential for both artists. Historically, culturally, physically, aesthetically, conceptually, linguistically, politically, and continuity of identity, sensibility, ethics; it all gave this artistic act addition meaning. Precisely because of this, the dialogue in this particular case can be understood as part of one wide artistic strategy, but also inner strategy of two artists with completely different poetics. Chronologically speaking, the initial element in the process of the Line for Savamala artwork was a drawing. Drawing is the primal form of visual thinking, and is also said to apply to the entire making. We all partake, transcendentally, in the universal principle of drawing. Through banal, every-day actions, we create a certain order and constantly arrange them. From this standpoint on drawing, originated the rest of the artistic dialogue comprised of drawing, video and performance.

Veljko Pavlović i Selman Trtovac

Veljko Pavlović & Selman Trtovac

crtanja su nastali i crtež, i video, i performans koji su zajednički uobličili pomenuti umetnički dijalog. Crtež autora Selmana Trtovca se sastoji od linija povučenih grafitom na papiru dugom četiri metra. Crtanje, u ovom slučaju trosatno povlačenje energetskih linija kretanjem duž formata papira pričvršćenom na zid galerije, zabeležio je video kamerom posmatrač Veljko Pavlović. Posmatranje se tu nije odvijalo slučajno, niti je u pitanju bilo puko dokumentovanje procesa crtanja, već je to bilo precizno planirano posmatranje. Ono se jedino može razumeti kao kreativni postupak, čija je suština upravljanje zapažanjem. U širem smislu se takvo zapažanje može definisati kao modelovanje, odnosno kao skulptura. Naknadnom obradom zabeleženog video materijala je uveden još jedan element rada - vremenski okvir, odnosno vremenska linija. Tri sata crtanja je mutirano u 3 minuta video materijala čiji autor je Veljko Pavlović. Na taj način i uz performans, koji je usledio, dijalog je dobio logičku strukturu: materijalnu, prostornu, vremensku, koncepcijsku, scensku i kompozicijsku. Performans je upravo poslednji element rada u kome su dva umetnika bila direktno povezana u realnom vremenu. Cilj performansa je bio da se kroz dijalog umetnika odredi još jedna linija, a ta linija je ovde bila materijalizovana kroz najobičniji zategnuti kanap čije krajeve su umetnici držali tokom performansa. Umetnici su tokom izvođenja performansa stajali mirno, okrenuti jedan prema drugom, direktno se gledajući. Ispraznili su um od svih suvišnih misli i tako na trenutak uspostavili samo jednu zajedničku misao, liniju. Nakon tog povezivanja oni su krajeve kanapa pričvrstili na suprotne zidove galerije, u kome se performans odvijao, ostavivši tako materijalni trag misaone povezanosti među sobom. Publika je na sceni mogla videti nekoliko planova, najpre umetnike koji izvode performans u prvom planu, potom projekciju trominutnog video rada na projekciono platno, u drugom planu. Na projekcionom platnu se videla i senka koju je prozrokovao performans iz prvog plana. Projekciono platno je bilo brižljivo izabrano i pozicionirano u prostoru tako da naglasi metaforu slike i slikarskog postupka na sceni. U trećem planu se nazirao deo crteža koji je još od početka ostao pričvršćen na zidu… Januar, 2014.

Selman Trtovac’s drawing is comprised of lines made by graphite on paper, which was four meters in length. Drawing, in this case, a three-hour making of energy lines throughout the format placed on the wall of the Gallery, was video recorded by observer Veljko Pavlović. Observation was no accidental matter, nor was it a mere documentation of the process of drawing, but a carefully planned observation. This can only be comprehended through a creative process that is essentially a controlled perception. In the broader sense, this sort of perception can be seen as modeling, i.e. sculpture. Through post-production, one more element was added – a time frame, or timeline. Three hours of drawing was rendered into 3-minute video whose author was Veljko Pavlović. In this way and through performance, the dialogue got its logical structure: material, physical, time, conceptual, environmental and compositional structure. Performance is actually the last element of the artwork, through which two artists were directly connected in real time. The aim of the performance was to establish another line through dialogue of the two artists, and this line was to be materialized as a generic string of rope held on each end by artists during the performance. The artists were standing still during the performance, facing each other, directly looking at each other. They have emptied their minds of all unnecessary thoughts and thus for a moment established a common thought, a line. After this connection, they secured each end of the rope on opposite walls of the Gallery in which the performance took place, thus making a material trace of their mental connection. The audience could see several layers; firstly, the artists performing, then projection of the 3-minute video, and a shadow of the performance over the projection of the video. The canvas upon which the video was projected was carefully chosen and places in space in order to emphasize the metaphor of painting and painting process on the stage. Last layer comprised of a part of drawing behind the canvas, which remained on the Gallery wall ever since it was created… January 2014

Dualnost The duality romantizma of romanticism

Dualnost romantizma Magali Sanheira

The duality of romanticism Magali Sanheira

Galerija Osmica, Kraljevića Marka 8 Osmica gallery, Kraljevića Marka 8

Magali Sanjeira je bila umetnik na rezidenciji, gost Trećeg Beograda tokom avgusta 2013. godine. U tom periodu, proizvela je projekat pod nazivom Paradoksalni pejzaž, konstrukt predmeta koji se nadovezuju na koncept prirode. Predmeti su sakupljeni na jednom mestu (u formatu izložbe) i čine prirodni hibrid. Fragmentirana i potom rekompozicionirana priroda, ponovo postavljena, formira baštu koja predstavlja dihotomiju priroda/kultura, pritom preispitujući sentiment i ideju prirode, u okviru koje stvari mogu biti i tačne i kontradiktorne, tako omogućavajući pejzažu da artikuliše paradokse. Pravljenje bašte moguća je manifestacija potrebe da se odstrani anksioznost i oblik ponovog prisvajanja prirode. Međutim, reč je o pojednostavljenoj prirodi, selekciji onoga što je izaziva ugodnost, u definisanom prostoru koji komunicira sa njom. Predmeti su izabrani na osnovu njihovog značenja, te i onoga što predstavljaju za posmatrača, pritom povezujući verovanja, sujeverja i pojam utopije. Svaki predmet referiše na istorijski ili kulturni događaj jedne od sledeće tri zemlje: Srbiju, Francusku i Nemačku, a time veze kroz vreme između ovih teritorija. Paradoksalni pejzaž testira kako mi to interpretiramo znake uviđajući povezanost između prirodnih, kulturnih i ekonomskih elemenata, pritom evocirajući veze između priča koje su izložene. Svaki deo izložbe pokazuje fenomen simultanosti, koji preispituje naš odnos sa stvarnošću i to kako je projektujemo. Paradoksalni pejzaž ne pruža teorijske dokaze za činjenice niti potvrđuje verovanja, ali utire put kritičkom odnosu i otvorenom preipistivanju principa nade.

Magali Sanheira was part of Third Belgrade’s artist in residence programme during August 2013. During that time, she produced “Paradox Landscape”, a “cut-up” of objects that relate to the concept of “Nature”.These objects are gathered in one place (formated as an exhibition) and make up one nature’s hybrid. Fragmented and recomposed nature, rearranged, form a “garden” which represents the nature/culture dichotomy, questions the “Sentiment” and “Idea” of nature, where things are both true and contradictory, and gives way for a landscape to articulate paradoxes. Building a garden could be a manifestation of a need to take some anxiety off and a form of re-appropriation of nature. However, it is a simplified nature, selection of what is pleasant,in a defined space that communicates with it. The selection of objects is made through their meaning, in what they represent to the viewer, whilst linking to their beliefs, superstitions, or notion of utopia. Each item refers to a cultural or historical event from the 3 countries: Serbia, France, and Germany, thereby creating passages through time between these territories. “Paradox landscape” tests how we interpret”signs” by creating interconnections between natural, cultural, and economic elements, and evokes new links between the stories exhibited. Each part of the exhibition shows a phenomenon of simultaneity, which questions our relationship to reality, and how we are project it. “Paradox landscape” does not provide theoretical evidence to prove facts or reaffirm beliefs, however it makes room for critical assessment and open questioning of principles of hope.

/Autor: Jan Rikodel/

/Author: Yann Ricordel/

Kao istorijski pokret koji podrazumeva poeziju, misao, muziku, slikarstvo, ali i reč u čestoj upotrebi, romantizam uopšteno karakteriše potraga za harmonijom. Rad Plavi cvet i bela ruža Magali Senjeire je snažna suptilna slika dualnosti romantizma: okačeno sečeno cveće (plavo inspirisano nezavršenim Novalisovim romanom Hajnrih fon Ofterdingen, trop je koji ukazuje na ideju totalne harmonije; belo referiše na Belu ružu, grupu mladih nemačkih disedenata koji su se opirali ugnjetavanju hitlerovskog fašističkog režima) predstavlja život, ideju lepote, koja neće trajati i nestaće. Ovaj jednostavni cvetni aranžman inspirisan japanskom umetnošću ikebana, nosi u sebi dualnost ukiyô: po starom budističkom shvatanju ova reč je pesimistična, a označava osećanje tuge koje katkad prouzrokuje nestajanje efemerne prirode. U dobi Edo-a, ukiyô-e postaje životni stil urbanog sveta zadovoljstava, istančane zabave, blage erotike; efemerno postaje zadovoljstvom. Lardoir (instrument kojim se meso puni slaninom) izaziva bolne senzacije, te i probuđuje svest o našim telima, koja sa jedne strane odišu životom, ali će isto tako umreti i istruniti jednog dana. Magali Sanjeirin rad formalno funkcioniše kao nadrealistički objekat, kao «slučajna prilika susreta kišobrana i šivaće mašine na stolu za disekciju» (Cont de Lotrmon): nešto kao Man Rejev Predmet za uništenje (1932), metronom sa afiksiranom fotografijom Li Milerovog oka, ili Marsel Dišanov rad Sa tajnom bukom (1916), klupko kanapa u kome je Volter Arensberg postavio tajni objekat između dve mesingane ploče sastavljene dugim šrafovima, Plavi cvet i bela ruža je jednostavan koliko je njegova moć evokacije jaka. On može biti posmatran kao nedogledna asocijacija ideja, intimnih sećanja, večnih sanjarenja. Materijalizuje se kroz kontradikciju između frojdovskih principa zadovoljstva i stvarnosti: pojedinac može sanjati, snažno želeti, a ta želja će upravo i biti sila koja će dovesti do realizacije sna, ona će ostvariti utopiju. Međutim, svako od nas je u svakodnevnom životu suprotstavljen principu stvarnosti; moramo se boriti sa svetom kakav jeste, da pregovaramo sa postojećim sistemima i da prihvatimo njihova ograničenja. Romantizam, kao najsnažnije verovanje u ideju, u mogućnost budućnosti, isto je tako i rizik; iskorakom u prazninu, može se desiti da propadnemo… ili poletimo.

As an historical movement involving poetry, thought, music, painting, but also in the common use of the word, « romanticism » is generally characterised as seeking for harmony. Magali Sanheira’s Fleur bleue et Rose blanche is a strong a subtle image of romanticism duality: the suspended cut flowers (the blue one inspired by Novalis’ unfinished novel Heinrich von Ofterdingen, is a trope pointing the idea of total harmony; the white one refers to Die Weiße Rose group of young German dissidents opposed to the oppressive, fascist Hitlerian regime) represent actual life, an idea of beauty, but will not last and will perish. This simple floral arrangement inspired by the Japanese art of ikebana, conveys the same duplicity as of the ukiyô: the ancient Buddhist acceptation of this word is pessimistic, signifying the feeling of sorrow that sometimes causes the disappearance of ephemeral nature. In the Edo era, ukiyô-e becomes the lifestyle of a urban world of pleasures, refined entertainment, soft erotic: the ephemeral becomes pleasant. The lardoir (an instrument used to insert bacon in pieces of meat) provokes painful sensations, and awakes the consciousness of our bodies, which are both throbbing with life, but will die and rot someday. Magali Sanheira’s piece formally functions like a surrealist object, as « the chance meeting on a dissecting table of an umbrella and a sewing machine » (Comte de Lautréamont) : like Man Ray’s Object to be Destroyed (1932), a metronome with an affixed photography of Lee Miller’s eye, or Marcel Duchamp’s With Secret Noise (1916), a ball of twine in which Walter Ahrensberg placed a secret object, pressed by two brass plates joined by long screws, Fleur bleue et Rose blanche is as simple as its evocative power is strong. It can be the starting point of a never ending association of ideas, of intimate remembering, everlasting daydreaming. It materializes the contradiction between Freudian principles of pleasure and reality: one can dream, strongly desire, and desire can be the force that will lead to the realization of a dream, that will make utopia come true. But every one of us is in our daily lives confronted with the reality principle: we have to deal with the world as it is, to negotiate with established systems, to accept their constraints. Romanticism, as the strongest belief in an idea, in a possible future, is a risk to take: leaping in the void, one might fall… or one might fly.

JA NISAM I AM NOT MOJE TELO MY BODY 26

JA NISAM MOJE TELO

I AM NOT MY BODY

Performans i zvučna instalacija

Performance and Sound Installation

17-20. september 2013.

September 17-20, 2013

/Autor: Jovana Popić/

/Author: Jovana Popić/

Selman Trtovac, jedan od osnivača Trećeg Beograda, i ja smo se sreli u februaru 2013. godine u Berlinu. Selmanova ideja bila je da poziva umetnike koji dele umetničke stavove sa grupom Treći Beograd da učestvuju u projektima. Sreli smo se u zvučno izolovanom hotelskom lobiju, u kome je visila uramljena slika sivog Berlina sa prolaznicima, što je vrlo karaktristično za to doba godine. Razgovarali smo, razmenjivali mišljenja i emocije. Upravo se tu i tada rodila ideja o performansu. Selman me je pozvao da dam predlog za rad u Savamali, četvrti Beograda. Za mene je ovaj poziv bio izuzetno važan s obzirom da gotovo da nisam izlagala u Beogradu dugi niz godina, sa izuzetkom nekoliko grupnih izložbi, otkad sam napustila Srbiju 2003. godine, što me donekle brinulo. Bila sam uzbuđena, ali i pomalo uplašena, a nisam znala da li ću uspeti da opravdam očekivanja. Preispitivala sam tada moju vezu sa gradom i poimanje identiteta. Bila sam entuzijastična da otkrijem koji prizori i zvukovi će mi privući pažnju kada budem kročila u Savamalu. Moj rad se fokusira na sadržaj poruka grafita u Mostarskoj ulici, koja se nalazi u beogradskoj četvrti Savamala. Zamišljen kao performans i zvučna instalacija, rad istražuje utopizam i idealizam mladih ljudi koji žive u tom kraju. Sadržaj grafita odražava dva suprotna aspekta njihovih stavova u odnosu na okruženje. S jedne strane, zamišljen kao opozicija društvu kome pripadaju, koji održava njihov specifičan utopijski stav prema svetu karakteriše propadanje i tragedija; fundamentalno pasivan, autističan stav mladih individualaca iz Beograda prema okolini. S druge strane, u njihovom nepokolebljivom verovanju u prave vrednosti ljudskog društva i bolji svet leži potencijalna energija, koja se može iskoristiti za promenu srpskog društva.

Selman Trtovac, founder of the Third Belgrade group, and I met in February of 2013, in Berlin. Selman’s idea was to invite artists who shared similar artistic believes and procedures with those of the Third Belgrade group, to participate in the projects. We met in adim, soundproof hotel lobby, behind a thick window,which framed a large grey picture of Berlin, with passers-by’s, so typical for that time of the year. We talked, exchanged opinions and emotions. That is when and where the idea for the performance was conceived. Selman invited me to give a proposition for a work in Savamala, city district in Belgrade. For me this invitation was very important, since I did not have an exhibition in Belgrade for years, only a couple of group shows since I left Serbia in 2003, and it started to concern me. I was excited, but also frightened, if I will live up to expectation of the challenge, since I was questioning very intensively my ties with this city and my own identity at that time.I was excited to discover what images and sounds are going to drive me to themselves, once I get to Savamala. The work I created focuses on the content of the graffiti messages in Mostarska Street, which is located in Belgrade’s district of Savamala. Conceived as a performance and sound installation, it explores the utopism and idealism of young people who live in the area. The content of the graffiti reflects the two opposite sides of their attitude. On the one side, conceived as an opposition to the society they belong to, their specific utopian worldview is characterized by downfall and tragedy, and could be inherently a part of fundamentally passive, autistic attitude of young creative individuals in Belgrade toward their surroundings. On the other side, in their unfaltering belief in true values of human

Jovana Popić

Posmatrala sam neartikulisan, haotični prostor Mostarske ulice kao deo procesa dekompozicije simboličkog tela srpskog društva. Odatle i sam naziv projekta – Ja nisam moje telo. Imajući u vidu da je medijum zvuka, kao nosilac emocija i poruka, sposoban da polarizuje prostor i promeni percepciju posmatrača, projekat Ja nisam moje telo ističe da umetnost i želja za otporom mogu biti sila koja pokreće menjanje stanja apatije i odsustva ideala u svetu koji nas okružuje.

society and a better world, lies a potential energy, which could be used to alter Serbian society. I regarded the inarticulate, chaotic space in Mostarska Street as part of a decomposition process of the symbolic body of Serbian society. Thus, the title of the project – ‘I am not my body’. Having in mind that the medium of sound, as a carrier of emotions and messages is capable of polarizing the space and change viewers perception of it, the project ‘I am not my body’ emphasizes that art and willingness to resist could be used as a moving force behind changing the state of apathy and absence of ideals in the world that surrounds us.

Repozicija Re-positioning 30

Repozicija

Re-positioning

7 - 17. jul 2013.

July 7-17, 2013

Galerija Osmica, Kraljevića Marka 8

Osmica gallery, Kraljevića Marka 8

/Autor: Tamara Laketić/

/Author: Tamara Laketić/

U nedelju, 07. jula 2013. godine u okviru programa Trećeg Beograda – “Mi volimo i umetnost drugih”, u okviru Urbanog inkubatora, otvorena je izložba Vuka Ninkovića – Re:pozicija. Kontekst izlozbe „Repozicija“ Vuka Ninkovića je bavljenje, u najužem smislu, novom postavkom u okviru medijskog i životnog prostora u Savamali, odnosom pojedinca i grupe tj. društva kroz autorovu prizmu spoznaje prostornog zauzimanja.

On Sunday July 7, the Third Belgrade officially opened exhibition “Re-positioning“ by young artist Vuk Ninković. The exhibition is a part of Third Belgrade’s “We also love the art of others programme“at the Urban incubator: Belgrade project. The context of Vuk Ninković’s “Re-positioning“ is, at core, dealing with new postulations within media and life space in Savamala; relationship between an individual and a group i.e. society through author’s perspective regarding space ownership.

Vuk Ninković

Autor tim povodom kaže: “Prostor oko kojeg smo ovih dana okupljeni proteže se pomalo nejasnim fizičkim granicama od autobuske stanice do Brankovog mosta i seže u podnožje Zelenog venca. Urbanizovani prostor trpi promene i njegova prokrvljenost osciluje i uslovljena je društvenim promenama; ponovna postavka normi i preuređenje sistema utiče i na prostor u kojem obitavamo. On emituje i odražava naš stav čak i duže nego što mislimo i nekada je potrebno dosta da bi se taj prostor reformisao i ponovo oblikovao u socijalno prihvatljiv. Ne mogu sa tačnošću da odredim kolike su vremenske distance u Savamali jer u svakom prostoru postoji i mikroživot, onaj svakodnevni koji ne dozvoljava da se plamen nekog prostora ugasi”. U grupi radova posvećenih Savamali nalazi se nekoliko digitalnih printova i dva video rada koji se projektuju zajedno kao dijaloška celina. Cirkularni su i, na neki način, nemaju kraj. Oni su refleksija i grafički prikaz pomenute stalne promene prostora. Jedan video predstavlja mačku koja se zove Savamala dok se maci. Drugi rad prikazuje prostor koji se iznova pronalazi, kroz autorovo traganje za mestom u “kutiji” Savamale. Rad je u direktnoj vezi sa printovima koji prikazuju subjektivni pogled au-

Vuk Ninković

The author shares the following: “The space that we focus on nowadays [Savamala] occupies a slightly ambiguous physical boundaries, spreading from the main bus station to Branko’s Bridge, and over to the foothill of Zeleni venac. The urbanised space suffers changes and its vibrancy oscillates conditioned by the social discourse; reestablishment of norms and system that affects the space which we inhabit. It portraits and resonates our attitude often far longer that we imagine, thus making the process of socially accepted reformation of space a long-term one. I cannot claim with total certainty the amount of time that Savamala would require to reinvent itself, given that every space has its own unique micro-life on the everyday basis which prevents the spark of that space go down.” In the group of artwork dedicated to the Savamala district, there are a number of digital prints and two videos, that together present a dialectic whole. The artworks are circular, and in a way, do not have an ending. They represent a reflection and a graphical rendering of the aforementioned transformations of the space. One of the videos shows a cat called Savamala while giving birth to kittens. 31

tora i predstavljaju reminiscenciju traganja, na kraju dana. Ninković dalje nastavlja: “Dakle, bitna karakteristika svakog prostora jeste to da on biva iznova osmišljen u vizuelnom, funkcionalnom i medijskom smislu. Ta oscilacija upravo dotiče prostor Savamale u kojem se pojedinac i korporacije pomeraju, stacioniraju i gledaju u budućnost. Ova pozitivna karakteristika prostora podstakla nas je da se ponovo setimo reke. Beograđani nikad nisu u potpunosti ovladali idejom Beograda na reci i ovo je mozda trenutak kada konačno u nekom prividno mirnom trenutku rešavamo da iskoristimo taj začarani prostor ispod Zelenog venca i pokušavamo da ga ponovo osmislimo”. Postoji šansa za stvaranje prostora ispočetka, što je retka prilika. Umetnici sami su odgovorni za novo izgrađivanje i moraju se truditi da pored oplemenjivanja prostora za sobom ostave i progresivnu energiju vizuelnih i etičkih kvaliteta koji će poslužiti kao rasad. Na pitanje kako vidi Savamalu u budućnosti Vuk kaže da je vizija Savamale dosta progresivna, dodajući da je interesovanje i ulaganje Gete instituta veoma doprinelo reorganizaciji i transformaciji Savamale u održivu gradsku četvrt. On takođe smatra da tu postoje drugi faktori koji nisu zanemarljivi, poput KC Grada, za koji kaže da ga je i samog naveo da siđe u Savamalu, prativši njihove programe. „Mi kao umetnici i svi naši sugrađani imamo priliku da izgradimo novu Savamalu iz sveg tog krša i loma, sa jednim boljim vizuelnim sadržajem.“ On dodaje da će Savamala ako se bude negovala pravilno izrasti u jedan deo grada, koji pored novog vizuelnog identiteta, postaje i kulturno središte Beograda, što se već i dešava, stoga je i pogled u budućnost pozitivna; ipak postoji tu i doza obazrenja u smislu da se iz želje za kreativnim preporodom ne počne gledati samo na ekonomski interes, te se tako ne zapostavi primarna ideja, građenja kvalitetnijeg dela grada.

The other video portraits the space that constantly reinvents itself, through author’s pursuit in the Savamala “box”. The video is directly connected to the digital prints which present us with author’s subjective viewpoint and, at the end of the day, represent reminiscence of the pursuit. Ninković further adds: “So, the relevant characteristic of every space is that it is constantly reinvented in the visual, functional and media sense. These oscillations are obvious in Savamala where an individual and corporations shift, settle and look into the future. This overly positive characteristic of the space reminded us of existence of the River. Belgradians never fully made use of the notion of their city resting on River(s), and this might be a convenient time to address that notion.” There is a chance to start creating a space from the beginning, but opportunities for that are rare. Artists alone are responsible for the new creation. They ought to attempt to foster the progressive energy of visual and ethical qualities. On the question of Savamala’s future, Vuk finds that it appears quite bright. He points out that interest and investment by the Goethe Institute so far has a major impact on Savamala’s reinvention and transformation into a sustainable quarter. Vuk also believes that there are other factors which cannot be overlooked, such as KC Grad, which made many (and himself) come down to Savamala and engage in cultural programmes. “We and our neighbours have an opportunity to re-build Savamala from rubble and put emphasis on visual content.” He adds that Savamala, if treated properly, might grow into a cultural hotspot of Belgrade. This can be hinted even today, and thus the glance into the future seems rather positive. He warns that the lurking danger might be getting carried away with the creative renaissance and making way for only economic interests, which would potentially damage the prime idea of creating a better district.

TAČKA, ZAREZ. FULL STOP, COMA. 34

TAČKA, ZAREZ.

FULL STOP, COMA.

28. septembar - 5. oktobar

September 28 until October 5

Galerija Osmica, Kraljevića Marka 8

Osmica gallery, Kraljevića Marka 8

/Autor: Bojana Atlija/

/Author: Bojana Atlija/

Izložba Tačka, zarez. bila je rezultat niza razgovora koje su Jevrem i Bojana Atlija vodili tokom priprema za izložbu, ali i mnogo ranije. Bojanina odluka da pozove Jevrema na saradnju bila je podstaknuta nazivom projekta Mi volimo umetnost drugih, čiji je deo bila i izložba Tačka, zarez.. ˝Mi volimo umetnost drugih˝ kao ˝Ja je postalo Mi, a Mi je postalo Drugi˝. Mesto izlaganja, galerija u Kraljevića Marka 8 nalazi se u Savamali, istorijskom delu Beograda, što je bilo zanimljivo i da se napravi osvrt – šta je taj deo grada i šta on predstavlja. Jevrem je kroz video rad dao panoramu ovog dela Beograda kao jednog dela grada koji je jako frekventan i koji je zapravo više put nego stanica. U isto vreme, on je mesto stvaranja, kretanja, razmene, sastajanja. To može ukratko i predstaviti refleksiju koju je Jevrem ponudio kroz ovu izložbu i kroz ono što je bio stalni motiv: stvaranje. Šta je stvaranje, ko stvara, ko je umetnik, šta je proces stvaranja? Na ta pitanja je svako od umetnika probao da da odgovor kroz rad. Postamenti: odustajanje od iluzija i velikih ideja, fokus na postavljanje baze, skulptura je u ovom momentu ono što ona nije – baza za skulpturu, ili samo baza, početak. Postaviti bazu značilo je shvatiti svoju poziciju i prihvatiti je. Trenutna pozicija. Ona je crna (kao pod) ili bela (kao zid), stapa se sa pozadinom. Za raziliku od postamenata – fotografije i video rad fokusirani su na tok stvaranja, i kontinuitet. Video je eksplicitno ukazivao na to, dok su fotografije otvarale svet intimnog stvaranja, koji se ogledao u najrazličitijim perspektivama. Fotografije su bile izlagane u parovima: portret umetnika – bio on zaneseni gitarista ili posmatrač – nasuprot fotografijama iz prirode ili gradskog okruženja (pejzaža ili detalja). Ovi parovi

Full stop, coma. exhibition was a result of conversations between Jevrem and Bojana Atlija during the exhibition preparation period, and well before that. Bojana’s decision to invite Jevrem and cooperate with him was prompted by the name of the We also love the art of others project; the Full stop, coma. exhibition ended up being a part of that project. Within this exhibition, I became We, and We became Others. The venue, Gallery place in Kraljevića Marka 8 , is situated in Savamala, a historical part of Belgrade, which was more than enough to start reflecting – how do we define that part of the city and what does it represent. Through a video panorama, Jevrem provided an overview of this part of Belgrade, which has high traffic frequency and is more like a piece of road rather than an actual stop. At the same time, it is a place of creation, movement, exchange and meeting. In short, this aspect was presented through Jevrem’s reflection pertaining to the exhibition, and through a constant motive: creation. What is creation, who creates, who is an artist, and what is the process of creation? Both of the artists exhibiting have attempted to provide answers to these question through their work. Bases: giving up on illusions and big ideas, focusing on setting up the ground, the sculpture at this point becomes what it is not – the base for sculpture, or just a base, beginning. To set up a base, it meant to understand one’s position and accept it. The position at the moment. The base was black (same as the floor), and blended into the background. Different from the base – photographs and video piece focus on the process of creation and continuity. Video explicitly called for it, while the photographs opened the world of intimate creation,

Bojana Atlija i Jevrem

Bojana Atlija and Jevrem

su bili lice i naličje. Komunikacija između radova rezultirala je postavkom koja je izgledala dosta klasično galerijski. Postamenti su bili postavljeni vertikalno, umereno raspoređeni u prostoru, fotografije su bile postavljene na zidu. Ali, prostor je bio zanimljivo podeljen medijalnom horizontalom na polje mirnog i stabilnog u donjem nivou i polje razigranog i dijagonalnog u gornjem nivou. Baza je ponudila život, a život je obojio bazu. novembar 2013.

which was reflected in the various perspectives. The photographs were exhibited in pairs: portraits of artists – whether we are talking about a guitar player or an observer – as opposed to photographs from the nature or city environment (landscape or details). These pairs can be seen as head and tail. Communication between artwork resulted in the exhibition set-up which seemed like a rather traditional gallery set-up. The bases were placed vertically, fairly positioned in space, and photographs were displayed on walls. Interestingly, the entire space was divided by a virtual horizontal line differentiating between the field of tranquil and stabile in the lower level, and field of playful and diagonal in the upper level. The base offered life, and life in return coloured the base. November 2013

ZRNO PO ZRNO – POGAČA, CIGLA PO CIGLA – PALAČA 38

SEED BY SEED – BANNOCK, BRICK BY BRICK – PALACE

ZRNO PO ZRNO – POGAČA, SEED BY SEED – BANNOCK, CIGLA PO CIGLA – PALAČA BRICK BY BRICK – PALACE Marica Radojčić

Marica Radojčić

Ambijent: video projekcije, fotografije, digitalne grafike, cigle

Ambiance: video projections, photography, digital prints, bricks

18. oktobar - 8. novembar 2013.

October 18 – November 8, 2013

Galerija Osmica, Kraljevića Marka 8

Osmica gallery, Kraljevića Marka 8

/Autor: Marica Radojčić/

/Author: Marica Radojčić/

Najupečatljiviji dokumentarni filmski kadrovi koje sam u videla jesu oni o prvom danu u Nemačkoj posle kapitulacije u Drugom svetskom ratu. U poraženoj, poniženoj, razrušenoj i obezglavljenoj zemlji, ljudi širom Nemačke, kao po komandi, samoinicijativno izlaze na ulice i počinju jedan drugom da dodaju cigle i da raščišćavaju ruševine. Beskrajni vijugavi lanci kod svake ruševine. Jedna po jedna cigla, iz ruke u ruku, polako, strpljivo, bolno, ali uporno. Te su mi se scene duboko urezale u sećanje, uzbudile me i uznemirile. Kasnije sam se često vraćala na to sećanje, posebno kad sam se bavila analizom naše propasti. Tačnije propadanja, jer to nije bio nagli sunovrat već dugoročno lagano propadanje. Sve mi se priviđalo da u tom sistematskom dodavanju cigala leži ključ nemačke uspešnosti. Cigla, po cigla, polako i strpljivo. Jedna po jedna. Sve prvo složiti, pa sortirati, pa očistiti, pa vratiti cigle tamo gde su bile – popraviti srušeno. Ako je potrebno, ponovo sazidati, ukoliko je sve baš srušeno. Međutim, popravka ima prvenstvo. Boraveći u više navrata u Nemačkoj, nekad duže nekad kraće, pitala sam se uvek koje su to ključne osobine tog naroda: vrednoća, marljivost, strpljivost, upornost, sabornost, sve to zajedno, ili nešto treće? Kad sve to poredim sa nama: ovde se ne popravlja gotovo ništa, malo šta se održava, ne kreči se, ne podmazuje, ne malteriše… Pušta se da sve orone, da zarđa, da zariba… I onda, kad više ne može da se popravi, ruši se i zida novo. Svaki unuk obično ruši kuću svog dede i zida novu. Pa tako u

The most striking documentary film shots I have ever seen are those made on the first day of Germany’s capitulation at the end of the Second World War. In the defeated, humiliated, torn, decapitated country, people all across Germany, as if by command, went out into the streets spontaneously and started handing each other bricks and clearing up the ruins. Each brick one by one, from hand to hand, slowly, patiently, painfully, yet resolutely. These scenes are deeply etched in my memory; they have both excited and disturbed me. Long afterwards, I have often come back to this memory, especially when I was dealing with the analysis of our downfall – or more precisely, our decline; as this was not a sudden collapse, but rather a long-term steady decline. It has appeared to me that the key to German success lies precisely in this systematic passing of the bricks. Brick by brick, slowly and patiently. One by one. At first, everything was assembled; then it was sorted, then cleaned, and then the bricks were returned to where they came from: the ruins were repaired. If necessary, in cases of total demolition, they were rebuilt.. However, the mending came first. Having visited Germany a few times, for shorter or longer stays, I was wondering what are the essential characteristics of her people: hard work, diligence, patience, perseverance, a sense of the collective – all these together. Or something completely else? Comparing them with us, my conclusion is: here almost nothing gets repaired, very few things are maintained, there is no repainting or render39

Srbiji nema kuće starije od 300 godina. Mnogo je oronulih fasada, mnogo je cigala koje treba popraviti. A na početku, kad su se pomaljale prve cigle na fasadi sve je bilo lako i jednostavno. Trebalo je samo malo cementa, malo peska, i malo rada da se to popravi. Trebalo je rada – to je najveći problem za nas. Rad je sa ovih prostora davno prognan kao nešto nedolično. Pogotovo onaj fizički. [Doduše, to nismo mi izmislili, to je nasleđe od Starih Grka.] Tipična rečenica: „To nije moja dužnost…“ da čistim, perem, popravljam… To treba da uradi neko drugi… A tamo, u uspešnim zemljama ne pita se šta je čija dužnost. Posao mora da se uradi. To je osnovno pravilo. Danas, kad su mnoge fasade oronule, teško je sve to popraviti. Ali nije nemoguće. Valja samo započeti. Pa, eto, ja sam rešila da započnem prebrojavanjem i označavanjem cigala koje u Savamali treba zamalterisati. Naravno, to je samo početak, brojevi su ogromni. Ali, ništa nije nemoguće. Cigla po cigla po cigla, polako, jedna po jedna… Nadam se da će neko nastaviti, da će se neko pridružiti. Naravno, nisu samo cigle na oronulim fasadama u pitanju. Dugačak je spisak: Propali prozori, vrata, kapije, roletne… Zapušene ćuprije, zapušteni i u korov zarasli kanali… Zagađena, zanemarena i zatrovana okolina … Zaparložene plodne oranice, voćnjaci i vinogradi… A (celo) zrno se može pojesti samo na slavama i daćama. Gde su se izgubila ona starinska jela, koja predstavljaju prave primere danas svuda u svetu cenjene zdrave hrane čijom proizvodnjom se ne zagađuje okolina. A ljudi ? E, to je glavni problem: Lenjost, i duhovna i fizička, neodgovornost, raspuštenost, nemar, nadobudnost, zavist, razmaženost, sebičnost, uobraženost bez pokrića, nedostatak objektivnosti… Nedostatak sabornosti – retko ko i zna šta ta reč znači. Danas postoji samo na papiru, i u crkvenim spisima. Nije ni čudo što smo se izmetnuli u takve ljude, jer ovde se deca ne vaspitavaju već samo obožavaju. Umesto da od dece polako stvaraju nezavisne ljude, roditelji stvaraju slabe i nedorasle osobe, kojima celog života treba oslonac. A kad se sudare sa stvarnošću kao jedino rešenje vide seobe, odnosno bežanje od problema. 40

ing… Things are allowed to become feeble, rusty, jammed… And then, when nothing at all can be repaired, everything is torn down and built again. Every grandson usually tears down his grandfather’s house and builds a new one. Therefore, there is no house inSerbiathat is older than 300 years. There are many ruined façades, many bricks which need to be fixed. At the beginning, when the first bricks started to appear underneath the façades, it was all pure and simple. All that would have been needed to repair it would have been some cement, some sand and a little bit of work. Yes, it would take some work – that is the biggest issue for us. Work was exiled from this region a long time ago, as something inappropriate. Especially the physical kind of work. [This attitude, however, is not our invention, as we inherited it from the ancient Greeks.] The typical sentence runs: “It’s not my duty” – to clean, to wash, to fix… That needs to be done by someone else. But in the successful countries, this is not an issue at all, whose duty something is. The job HAS to be done. That is the principal rule. Today, when many façades are crumbling, it is hard to fix them all. However, nothing is impossible. We ought just to start. So, I have started to number and mark the bricks in Savamala which need to be plastered. Of course, this is only a beginning – the numbers are huge. Yet nothing is impossible. Brick by brick, slowly, one by one… I hope someone will follow me, that someone will join in. Of course, the issue is not only with bricks. The list is long: Rotten windows, doors, gates, window blinds… Blocked cross-overs, neglected channels covered in weed… Polluted, overlooked and poisoned environments… Fields, orchards and vineyards stuck in the mud… The whole grain can only be found at our slavas or religious festivals/. Where have those old dishes disappeared, which represent the true examples of health food, highly appreciated all over the world today; the kind of food that does not pollute the environment? And people? Well, that is the main issue: Laziness, both spiritual and physical, irresponsibility, indiscipline, negligence, suspicion jealousy, selfishness, over-estimation of one’s abilities and

Možda se ipak nešto može učiniti u budućnosti. Najpre bi trebalo prepoznati problem. Izanalizirati ga, razviti strategiju… Možda je sve to moguće. Upornošću. Sistematski, polako. Jedan po jedan. Setimo se Nemaca. Setimo se Kineza, tih vrednih nasmejanih, skromnih ljudi kojih je sve više oko nas… Možda se ne mora bežati od problema, već se uhvatiti u koštac sa njima. Jer, problemi su sastavni deo života, svuda, u svakom društvu. Od njih se ne može pobeći.

importance, lack of objectivity… The lack of feeling for the collective (саборност- catholicity; rarely does anyone know what that word means nowadays, it exists only on paper, in church documents). It is no wonder then that we have become such a people, for here children are not brought up, they are just adored. Instead of slowly teaching children how to become independent, parents are creating weak and immature individuals, who require constant support throughout their lives. When they clash with reality, they see migration as the only way out, which is in fact running away from the problem. Maybe there is still something that can be done in the future. First, we should recognize the problem. Analyse it, develop a strategy… Maybe something is possible. With persistence. Systematically, slowly. One by one. Let us recall the Germans. And the Chinese, those modest always smiling people who are growing in numbers around us… Maybe we do not have to run away from problems, but face up to them. Problems are a part of everyday life, everywhere, in every society. One cannot run away from them.

Sekundarna Secondary arhitektura architecture 42

REFRAMING BRANISLAVA NIKOLIĆA

REFRAMING OF BRANISLAV NIKOLIĆ

Ambijent

Ambiance

16. novembar - 4. decembar 2013.

November 16 – December 4, 2013

Galerija Magacin, Kraljevića Marka 4

Magacin gallery, Kraljevića Marka 4

/Autor: mr Čedomila Marinković/

/Author: Čedomila Marinković MA/

Projekat Sekundarna arhitektura nastao je u saradnji umetnika Branislava Nikolića i romskog „arhitekte“ Bobana Mladenovića. Rezultat saradnje – proces nastajanja jedne uobičajene romske kuće u galerijskom prostoru – zabeležen je video radom Nebojše Vasića i Vesne Grbe. Projekat je realizovan u okviru projekta Urban Inkubator i prikazan publici na izložbi u Galeriji „Magacin“ tokom decembra 2013. Sastavni deo projekta predstavljao je i okrugli sto o sekundarnoj arhitekturi i slam naseljima u Beogradu koji je održan 4. decembra u istoj galeriji. I ovim umetničkim ostvarenjem nastalim u koautorstvu sa Bobanom Mladenovićem, Branislav Nikolić ostao je na tragu svojih ranijih plastičnih i angažovanih istraživanja. Sa jedne strane inspira ciju za ovaj rad Nikolić je, kao i više puta do sada, našao u materijalu koji i sam, slično svom romskom koautoru nalazi na ulicama i koje predano izdvaja, sakuplja i po potrebi ponovo koristi. U svom postupku reciklaže materijala Nikolić, međutim nije nasumičan ni proizvoljan: on sledi svoj prefi njeni smisao za materijal. Nasuprot ovoj likovnoj motivaciji stoji angažovanost ovog rada – izdvojiti određeni fenomen, demistifikujući ga re-kreirati u prostoru galerije i tim postupkom – menjanjem okvira u kome se plastični predmet pojavljuje – aktualizovati ga ne samo u njegovom estetskom već i nadasve u njegovom društvenom značenju. I upravo ovim postupkom, koji po svojoj angažovanosti nadilazi početni dišanovski teorijski okvir – suptilno se povezuju modernistički inspirisana ljubav ka istinitosti materijala sa recikliranjem i društvenom ulogom umetnika kao savesti savremenog društva. Ne bez značaja: iza izbora motiva koji će biti izdvojen i ponovo uokviren ne slučajno se p(r)ojavljuje dišanovski model umetnika kao „mislećeg oka“

Secondary architecture project was made out of collaboration between artist Branislav Nikolić and Roma ‘architect’ Boban Mladenović. The result of cooperation – making process of one ordinary Roma house at the Gallery space – was documented through video by Nebojša Vasić and Vesna Grba. The project is implemented as part of Urban incubator and presented to the audience through an exhibition at the Magacin Gallery in December 2013. Round table on secundary architecture and slam quarters in Belgrade was an integral part of the project, held on December 4 at the same Gallery. Through this artistic achievement made in co-authorship with Boban Mladenović, Branislav Nikolić remained on the verge of its previous plastic and socially engaged explorations. On one hand, Nikolić found inspiration for this work in material, as was the case in many other instanced in the past, which he himself found on streets, patiently collected and used, much like his Roma counterpart. Nikolić’s process of recycling materials is neither random nor arbitrary; the artist follows his refined sensibility for material. Opposite to the visual motivation, there is also a socially engaged side to this artwork – singling out a phenomenon, de-mystifying and re-creating it in Gallery space, and through this method – changing of the setting in which the plastic object appears – realising it beyond it’s pure aesthetic, but rather full social meaning. Exactly through this methodology, which exceeds the starting point Duchampian theoretical framework – modernist affection for authenticity of material is subtly tide together with recycling and social position of an artist as contemporary society’s consciousness. Not without a meaning: through the choice of 43

a ne samo kao protagoniste beleženja „retinalnog nadražaja“. U univerzumu slika u kome živimo, ovakvo izdvajanje ima značenje i posledice koje je nekad imala sakralizacija. Čini se da je danas, u potopu slika post tehničke ere jedino na taj način moguće obratiti pažnju na određeni fenomen. Jedino mu je tako moguće dati pomalo zaboravljenu i romantičnu odrednicu aure. Ali aure ne shvaćene samo kao „dodate vrednosti“ koja nastaje uvođenjem dela u etablirani sistem umetnosti već aure koja je (od) uvek i jedino nastajala složenom interakcijom umetničke ideje, specifičnog materijala i društva. Da zaključimo: u ovom delu se, na neočekivan i neobičan način susreću višestruke inspiracije – materijalnost i reciklaža, angažovanost i izdvajanje, estetski i etički momenti, modernizam i postmodernizam. Iza svega, jednostavno, ozbiljno, temeljno i posvećeno stoji istraživačka ličnost Branislava Nikolića.

motive which would be singled out and again reframed, it is intentional that Duchampian model of artist as the ‘Thinking eye’ appears, thus avoiding mere noting of ‘retinal stimulation’. In the universe of images that we live in, this kind of singling out has deeper meaning and consequences, which sacralisation used to have. I find that today, in the overwhelming wave of images of the post-technical era, it is only possible to pay attention to a particular phenomenon at a time. This is the only way to provide it with a slightly forgotten notion and romantic feature of an aura. Yet aura not only as an ‘added value’ originating in introduction of artwork to the established art system, but rather aura that has always come to be through complex interaction between artistic idea, specific material and society. In conclusion: this artwork, in an unexpected and unusual way, is a cross between multiple inspirations – materialism and recycling, social engagement and singling out, aesthetic and ethical moments, modernism and post-modernism. Behind it all stands simply, thoroughly and devotedly the researching nature of Branislav Nikolić.

Kafa dobra, The better the red coffee, the dugaÄ?ak longer the queue 46

Kafa dobra, red dugačak The better the coffee, Nina Todorović i Predrag Terzić the longer the queue

Nina Todorović i Predrag Terzić

16. - 21. novembar 2013.

November 16 - 21 2013

Galerija Osmica, Kraljevića Marka 8

Osmica gallery, Kraljevića Marka 8

/Autor: Predrag Terzić/

/Author: Predrag Terzić/

Projekat je zamišljen kao mapiranje kafana na prostoru Savamale, ali i na susednim, a u ovom slučaju neodvojivim prostorima - Varoš kapije i Zelenog venca, koji su se u prošlosti nametnuli kao važan deo tada već živahne čaršije u razvitku. Budući da je ceo potez od Sarajevske do Karađorđeve ulice postao novi trgovački centar, tokom istorije i izgradnje Beograda, kafane su bile stecište raznolike populacije koja je ostavljala trag i uticaj na oblast tadašnje Savamale. Tokom vremena, veći deo istorijskih kafana, kao što su Zlatna moruna, Čokot, Deligrad, Kragujevac, Venecija, Liman, Bosna, Kičevo, Zlatna lađa, Kraljević Marko ali i mnoge druge, su izbrisane sa mape. Projekat Kafa dobra, red dugačak, osim mapiranja mesta od istorijske važnosti i obeležavanja lokacija starih kafana, pokušava da sagleda šta se sada nalazi na tim prostorima, kakvi objekti, kao i njihovo današnje značenje na prostoru Savamale. Kada se pogleda unazad, kroz istoriju, Savamala je odisala duhom ne samo kao granični pojas između dve imperije (Austro-Ugarska i Otomanska), već i kao mesto od izuzetnog značaja za narastajući Beograd. Tokom vremena smer širenja grada se menjao, došlo je do istorijskih, strukturalnih izmeštanja, tako da su od Savamale i njenog prethodnog trgovačko-istorijskog značaja ostali samo tragovi, koji u današnjem vremenu menjaju, i prostoru daju jedan novi oblik, ujedno i drugačije čitanje. Drugim rečima, Savamala je danas prostor koji je prepoznat kao mesto od izuzetnog kulturnog značaja i stecište kulturno-umetničkih dešavanja, a koreni toga bili su jasno vidljivi u prvim kafanama i kafanskom životu starog Beograda.

This project was conceived as a mapping of coffee shops in the Savamala area, as well as in the neighboring, and in this case, inseparable areas - Varoš kapija and Zeleni venac, which in the past have represented very important parts of an already bustling city in development. Ever since large parts from Sarajevska to Karadjordjeva streets have become the new shopping center in the history and construction of Belgrade, coffee shops - popular kafanas were the meeting place of diverse population that left its mark and impact on Savamala during that period. Over time, much of these historic coffee shops, such are Zlatna moruna, Čokot, Deligrad, Kragujevac, Venecija, Liman, Bosna, Kičevo, Zlatna lađa, Kraljević Marko and many others, have now disappeared from the maps altogether. The Project The better the coffee, the longer the queue, along with it’s mapping of sites of historical importance and marking locations of the old coffee shops, is trying to discover what is situated in that area now, what kind of objects, as well as their contemporary meaning and significance in Savamala. When you look back through the history, Savamala embodied a specific spirit, not only as a border area between the two empires ( Austro - Hungarian and Ottoman ), but also a place of great importance for a growing Belgrade. Over time, the direction and expansion of the city has changed, there has been a historical and structural displacement, so what remains today of Savamala and its previous commercial and historical importance are just few signs, which today are changing and giving everything a new form, and also a different interpretation. In other words, Savamala is still an area that is recognized as a place of great cultural significance and meeting place for cultural and artistic events, and the roots of that were clearly visible in the first coffee shops of old Belgrade. 47

PSIHOGEOGRAFIJA PSYCHO GEOGRAPHY PERIFERIJE U OF SURBS IN THE SRCU GRADA HEART OF CITY 50

PSIHOGEOGRAFIJA PSYCHO GEOGRAPHY OF PERIFERIJE U SRCU GRADA SURBS IN THE HEART OF diSTRUKTURA CITY Video 17. i 18. novembar 2013. Galerija Magacin, Kraljevića Marka 4

diSTRUKTURA

Video projection November 17 and 18, 2013 Magacin gallery, Kraljevića Marka 4

/Autor: diSTRUKTURA/

/Author: diSTRUKTURA/

Participativni eksperiment zasnovan na akciji pod akademskom palicom psihogeografije u kom se dve osobe, u toku određenog perioda, odriču uobičajenih motiva za pokret i akciju, njihovog odnosa, rada i slobodnog vremena, prepuštajući se atrakcijama okoline i slučajnim susretima. Tema ovog rada je istraživanje urbanog pejsaža Savamale, zaboravljenog i napuštenog dela Beograda, oslanjajući se na koncept flâneur i slične inventivne strategije za istraživanje gradova kao što je psihogeografija. Situacionisti su ovu tehniku smatrali za najbolju u cilju upoznavanja nekog grada pa je tako Guy Debord, 1955. definisao psihogeografiju kao “studiju određenih zakona i specifičnih efekata geografskog okruženja, svesno ili nesvesno organizovanih, na osećanja i ponašanje individue.” Ova strategija koja nalikuje igri u sebi sakuplja sve ono što vodi pešaka van predvidljivih putanja i uvodi ga u novu spoznaju urbanog pejsaža, predstavljajući moderan grad kao mesto istraživanja. Situacionisti su koncept psihogeografije formirali, zajedno sa dérive kao elemente unitarnog urbanizma u svom revolucionarnom pristupu arhitekturi. Smatrali su da je savremena arhitektura fizički i ideološki restriktivna i da zajedno sa spoljašnjim kulturnim uticajima stvara jednu vrstu podvodne struje, primoravajući pešaka da postane deo određenog sistema interakcije sa njegovom okolinom. Odgovor Situacionista bio je stvaranje novog dizajna urbanog prostora koji obećava bolje uslove eksperimentisanja kroz svakodnevnu ekspresiju. “Gradovi imaju psihogeografske reljefe, sa konstantnim strujanjima, fiksnim tačkama i vortexima koji obeshrabruju ulaz ili izlaz iz pojedinih zona.” Takav je slučaj i sa Savamalom. Tokom razvoja Beograda, glavni tokovi kretanja su nekako zaobišli

The participatory experiment is based on activity under the academic proposition of psycho geography, in which two individuals, during a certain period of time, give up on their usual motivation for movement and action, relationship, work and free time, in order to emerce themselves into allure of surroundings and accidental encounters. The project topic is exploration of Savamala’s urban landscape, forgotten and deserted Belgrade city quarter, whereby relying on the flâneur concept and similar inventive strategies of city exploration such as psycho geography. Situationists considered this technique to be the best in terms of getting to know the city, thus in 1955, Guy Debord defined psycho geography as “study of the specific laws and specific elements of geographical environment, consciously or subconsciously organized, over human emotions and behavior.” This strategy, that resembles a sort of a game, gathers everything that leads a pedestrian outside of their predicable routes and introduces them to new perception of the urban landscape, thus presenting modern city as a place of exploration. Situationists formed the concept of psycho geography, together with dérive, as an element of unitary urbanism in their revolutionary approach to architecture. They considered contemporary architecture to be physically and ideologically restrictive, and that it together with external cultural influences creates a sort of a current, thus forcing a pedestrian to become a part of a certain system of interaction with their environment. The answer situationists provided was to the creation of new urban space design, which promises better conditions for experimentation through every-day expression. “Cities have psycho geographical reliefs, with con51

ovaj prelepi deo grada koji je ostao zaboravljen i preplavljen teškim saobraćajem. Ideja urbanog lutalaštva potiče od starijeg koncepta flâneur, oblikovanog od strane Bodlera (Charles Baudelaire) u 19. veku kao ”osobe koja šeta gradom s ciljem da ga iskusi”. Ovaj “botaničar trotoara” ima ključnu ulogu u razumevanju, učestvovanju i portretisanju grada. Kombinujući socijalne, antropološke, književne i istorijske ideje o vezi između individue i populacije, koncept flâneur -a postao je važan u akademskim diskusijama o modernističkim fenomenima a posebno o fenomenima urbanog iskustva. Tokom našeg boravka u Savamali, zauzeli smo poziciju flâneur-a, pešaka u besciljnoj šetnji, nesputani ikakvim obavezama ili osećanjem neophodnosti, i pretvorili ovaj deo grada u prostor za istraživanje u šetnji tokom koje su iznošeni socijalni i estetski komentari. Naša putanja je bila kreirana na osnovu uputstava i preporuka ljudi koje srećemo na ulici, slučajnih prolaznika i stanovnika ovog dela grada. Tokom našeg razgovora pokušali smo da saznamo što više o istoriji Savamale, ali i o njihovim omiljenim mestima, sećanjima, tajnama..., prožimajući javni prostor grada sa ličnim doživljajima njegovih stanovnika. Na taj način približavamo se i konceptu dendija (dandy) definisanog u Britaniji krajem 18. i početkom 19. veka. Dok flâneur zadržava poziciju posmatrača života na ulici, dandy je čovek naroda koji sa strašću ulazi u živote svojih sagovornika (subjekata). Takodje, dandy su prvi šetali kornjaču na povodcu ne bi li se usporili i tako bolje sagledali grad. Iako priroda ovakvog istraživanja stavlja akcenat na sam proces rada koji ima performativni karakter, ne treba izostaviti rezultate nastale kombinacijom subjektivnih i objektivnih znanja i zapažanja koji mogu naći primenu u urbanom dizajnu i arhitekturi. Ishod je pretstavljen u tri različita, a psihogeografiji svojstvena, medija: 1. video, dokumentarnog karaktera koji prati šetnju i razgovore sa prolaznicima. Kao forma koja najbolje artikulise parametre vremena i prostora, video pretstavlja najpodesnije sredstvo izražavanja jednog psihogeografa. 2. fotografija, tačnije, urbana iliti ulična fotografija koja je, po rečima Susan Sontag, našla najznačajniju primenu fenomena flâneur. U svom eseju “O fotografiji” (On Photography) iz 1977. godine, ona opisuje kako je razvoj fotoaparata, od velikih 52

stant currents, fixed points and vortexes which discourage exiting and entering from particular zones.” Such is the case with Savamala, as well. During Belgrade’s development, the main movement directions somehow by-passed this beautiful part of the city, which lies forgotten and overwhelmed with heavy transportation. The idea of urban wandering around originates from the older flâneur concept, shaped by Charles Baudelaire in the 19th century, and consists of going around the city in order to fully experience it. This “botanist of side walk” had the key role in understanding, participating and portraying the city. Through combination of sociological, anthropological, literary and historical ideas of relation between an individual and population, flâneur concept became rather important part of academic discussions about modernist phenomena, and especially phenomena of the urban experience. During our stay in Savamala, we took the flâneur position of pedestrians engaged in aimless walk, free of any restrictions, obligations or feelings of necessity, and turned this part of the city into a place for research through a long walk, during which social and aesthetic commentary was made. Our journeys were created on the ground of instructions and recommendations given to us by the people who we met on the street, accidental passers by and inhabitants of the neighborhood. Through conversation, we tried to learn more about Savamala, but also about their favorite spots, memories, secrets… thus pervading the city space with personal experiences of its inhabitants. This way, we got closer to the Dandy concept, defined in the UK in the end of the 18th and beginning of the 19th century. While flâneur takes the position of an observer of life in the streets, Dandy is a people’s person, who engages in life of their conversation partners (subjects) with passion. Further, Dandies were the first ones to walk turtles around on the leash in order to slow themselves down and better absorb the city. Even though the nature of such research puts emphasis on the actual working process, which has a performative character, the results made through combining the subjective and objective knowledge and perception, which can find their place in urban design and architecture, are not to be neglected. The result is represented in three different, psycho geography-specific, media: 1. video, documentary, which follows wandering

studijskih do malih, ručnih, prenosivih s početka 20. veka, doprineo tome da fotoaparat postane značajna alatka flâneura. 3. Psihogeografske mape Savamale, likovno/ grafička rešenja rezultata istraživanja po ugledu na mentalne mape koje su stvarali Situacionisti u svojim akcijama.

around and talking to people. As the best format to articulate parameters of time and space, video presents the most appropriate mean of expression for a psycho geographer. 2. photography, or more specifically urban or street photography which according to Susan Sontag found its unique implementation as part of flâneur phenomenon. In her essay “On Photography” from 1977, she describes how the development of camera, from the large studio ones to small, hand, portable versions in the beginning of the 20th century, contributed to the fact that camera had become relevant flâneur tool. 3. Savamala’s psycho geography map, visual/ graphic solutions of the research result, similar to mental maps created by Situationists in their actions.

ARTSAMPLE ARTSAMPLE 54

ARTSAMPLE: RAZGOVORI SA ODABRANIM MLADIM UMETNICIMA

ARTSAMPLE: TALKS WITH SELECTED YOUNG ARTISTS

/Autor: Sandra Stojanović/

/Author: Sandra Stojanović/

ArtSample je jedinstveni način prezentacije i afirmacije mladih (vizuelnih) umetnika. U okviru ArtSample razgovora, par umetnika po izboru Trećeg Beograda se predstavlja publici kroz razgovor o drugim umetnicima, teoretičarima i uošte pojedincima koji su na njih uticali. Mladi umetnici u prvom delu razgovora održe unapred pripremljenu prezentaciju odabira umetničke produkcije koja je uticala na formiranje njihovih poetika, a potom predstave i neke od svojih projekata. U drugom delu, publika je pozvana da sa umetnicima uđe u dijalog; komentariše radove i postavlja pitanja. Kroz razgovore, mladi umetnici kontekstualizuju i efektnije približavaju svoj senzibilitet i produkciju publici. Takođe, podstiče se izgradnja odnosa i kritičkog razmišljanja prema širem krugu umetnika na pozitivnim premisama. Kroz preduslov da se predstave referencama, mladi umetnici su primorani da svoju produkciju i sebe postave u perspektivu kontinuiteta umetničkog stvaralaštva. S obzirom da je reč o umetnicima koji nemaju puno iskustva u javnoj prezentaciji svog rada, Treći Beograd je razvio metodologiju pripreme u etapama. Kroz izbor referenci, derivaciju bitnih informacija i fenomena, kao i interakciju sa publikom na kraju, do sada se pokazalo da je bitan aspekt ArtSample razgovora upravo iskustvo i osposobljavanje umetnika da artikulišu svoje koncepte. Prilikom razgovora sa publikom, mladi umetnici aktivno uče o tome kako se njihov rad percipira, a u poziciji su da testiraju i preispitaju svoja predubeđenja. U toku 2013. godine, pri projektu Urbani inkubator, održano je sedam tzv. Savamala ArtSample razgovora u Galeriji Osmica (Kraljevića Marka 8). Razgovori su se realizovali jedanput mesečno, a priliku da se predstave imali su: Ana Banduka i

ArtSample is a unique way of presenting and affirming young (visual) artists. Third Belgrade selects a pair of artist who then present themselves to the audience by referencing other artists, theoreticians and individuals that had influenced them. At first, young artists show a presentation of sampled art production they previously prepared and that is relevant to their poetics, which is followed by a presentation of selected projects of their own. In the second half, the audience is invited to ask questions, comment and challenge artists. Through talks, young artists contextualize and more effectively communicate their sensibility and productions to the audience. Furthermore, ArtSample encourages critical thinking and juxtaposition in terms of a wider circle of artists and art professionals on the positive premise of their relevance to the artists presenting. Challenged by the proposition to introduce themselves through references, young artists are driven to put themselves and their production into the perspective of artistic continuity. Given that artists presenting are usually not the ones to have a great deal of experience in public appearances and presentation of their work, Third Belgrade has developed methodology in steps in order to aid them in preparation. Through the choice of references, as well as interaction with the audience in the end, one of the greatest advantages of ArtSample has so far proven to be the sheer experience; developing competence with young artists that would enable them to articulate their concepts better. Through audience interaction, young artists actively learn about how others perceive their work, and are in the position to test and question their prior beliefs. In 2013, as part of Urban Incubator project, 55

Ksenija Jovišević, Jovana Vasić i Lidija Delić, Marina Marković i Boris Šribar, Bojana Atlija i Anastasia Tasić, Karkatag kolektiv, Andrea Dramićanin i Tijana Radenković, i Nemanja Nikolić i Sava Knežević.

there were seven, so-called, Savamala ArtSample talks held in Gallery Osmica (Kraljevića Marka 8). Talks took place once a month, and a chance to present themselves was given to the following artists: Ana Banduka and Ksenija Jovišević, Jovana Vasić and Lidija Delić, Marina Marković and Boris Šribar, Bojana Atlija and Anastasia Tasić, Karkatag collective, Andrea Dramićanin and Tijana Radenković, and Nemanja Nikolić and Sava Knežević.

Trejler za razgovor je dostupan na:

Trailer for the talk is available at:

http://www.youtube.com/watch?v=nEoE594Wu6Q&list=PLWGhTGchQTwHqn68ilfN0KPHHG7LQz6Lk

Savamala ArtSample #1:

11. maj 2013. godine

May 11, 2013

Razgovor sa Ksenijom Jovišević i Anom Bandukom

Artist talk with Ksenija Joviševič and Ana Banduka

Savamala ArtSample #2:

15. jun 2013. godine

June 15, 2013

Razgovor sa Jovanom Vasić i Lidijom Delić

Artist talk with Jovana Vasić and Lidija Delić

Savamala ArtSample #3:

20. jul 2013. godine

July 20, 2013

Razgovor sa Borisom Šribarom i Marinom Marković

Artist talk with Boris Šribar and Marina Marković

Savamala ArtSample #4:

17. avgust 2013. godine

August 17, 2013

Razgovor sa Bojanom Atlijom i Anastasiom TasiÄ&#x2021;

Artist talk with Bojana Atlija and Anastasia TasiÄ&#x2021;

Savamala ArtSample #5:

6. oktobar 2013. godine

October 6, 2013

Razgovor sa Karkatag kolektivom

Artist talk collective

with

Karkatag

Savamala ArtSample #6:

9. novembar 2013. godine

November 9, 2013

Razgovor sa Tijanom Radenković i Andreom Dramićanin

Artist talk with Tijana Radenković and Andrea Dramićanin

Savamala ArtSample #7:

21. decembar 2013. godine

December 21, 2013

Razgovor sa Nemanjom Nikolićem i Savom Kneževićem

Artist talk with Nemanja Nikolić and Sava Knežević

Brodovi: Boats: Zamišljeni Spaces of prostori Imagination 64

Brodovi: Zamišljeni prostori

Boats: Spaces of Imagination

Interdisciplinarna radionica

Interdisciplinary Workshop

4. septembar 2013.

September 4, 2013

Galerija Osmica, Kraljevića Marka 8

Osmica gallery, Kraljevića Marka 8

/Autor: Julija Blavert/

/Author: Julija Blawert/

Održana radionica je bazirana na sedmomesečnom projektu koji će obuhvatati put od Frankfurta do Crnog mora tokom 2014. godine, te i Mišel Fukoovoj ideji o brodovima kao „najvećim izvorima mašte“. Facilitator i moderator radionice bila je Julija Blavert (Nemačka), koja će u toku 2014. biti uključena u dotični projekat u okviru koga će neko vreme živeti na brodu i brodom praviti stanice niz tok Dunava, pritom dolazeći u kontakt sa lokalnim umetnicima i izvodeći performase. Radionica se bavila istraživanjem eventualne umetničke, društvene i/ili naučne svrhe funkcionalnih i nefunkcionalnih brodova u Beogradu. Učesnici su se prvenstveno pozabavili raznim metaforama o brodovima i diskutovali o apstraktnom pitanju o tome šta brodovi mogu da predstavljaju. U nastavku radionice, oni su razvijali ideje koje su potom vizuelno konkretizovane. Radionica je zamišljena kao početna tačka dugoročne razmene ideja i praktičnog rada koja će se ostvariti u Beogradu tokom avgusta i septembra 2014, kao i nastaviti tokom 2015. godine. Cilj radionice bio je da se razviju ideje u grupi o tome kakve su sve moguće transformacije brodova u odnosu na konekst grada Beograda. Dalje, rezultat je bio promišljanje o tome kako bi se olupine brodova mogle integrisati i spojiti radi postizanja prostora s kreativnim potencijalom i utopističkim idejama, a koji prevazilazi okvire puke zabave.

The one-day workshop held in the Gallery Osmica was based on a performative seven months boat project from Frankfurt to the Black Sea (from April to October 2014), and inspired by Michel Foucaults idea of boats being the „the greatest reserve of the imagination“. Facilitator and moderator of the workshop was Julia Blawert (Germany), who will be involved in the project in 2014. Namely, she will live on her boat and make stops along the Danube River thereby interacting with local artists and occasionally performing. The workshop in 2013 dealt with the question of how functional and non-functional boats can be used for artistic, social and/or scientific research purposes in Belgrade. First, participant took a close look at different boat metaphors and discussed the abstract issue of what boats can represent and stand for. Furthermore, they worked on ideas and tried to transform those into a concrete visual outcome. The workshop was an attempt to start a longterm exchange of ideas and practical work which is planned to take its shape in August/September 2014, and continue throughout 2015 in Belgrade. The aim of this workshop was to develop group visions for possible transformations of boats in relation to context of the City of Belgrade. In addition, one of the objectives was to provide a platform for thinking of ways to integrate boat wrecks and create a space that is filled with creative potential and utopian ideas surpassing mere entertainment.

Julija Blavert

Julija Blawert

Viewpoints Viewpoints 68

Viewpoints

Radionice

Workshops

Galerija Osmica, Kraljevića Marka 8

Osmica gallery, Kraljevića Marka 8

/Autor: Lori Boldvin/

/Author: Lori Baldwin/

“Viewpoints otklanja pritisak od težnje za pronalaženjem samog sebe, usamljenim stvara njem, potrebom da se bude zanimljiv i preduhitrivanjem same kreativnosti. Viewpoints nam dozvoljava da se prepustimo, padnemo u neispunjeni svet stvaralaštva i verujemo da tamo postoji još nešto sem našeg egoa i mašte da nas uhvati.” – Ana Bogart i Tina Landau, Knjiga Viewpoints

“Viewpoints relieves the pressure to have to invent yourself, to generate all alone, to be interesting and fore creativity. Viewpoints allows us to surrender, fall back into empty creative space and trust that there is something there, other than our own ego or imagination, to catch us.” – Anne Bogart and Tina Landau, The Viewpoints Book

Lori Boldvin

Radionice in situ performansa održane su sa dve različite grupe: Grupa 1 – 20, 22, 24. maj u 19h i 25. maj u 14h Grupa 2 – 27, 29, 31. maj u 19h i 1. jun u 14h Svaka radionica se sastojala od dvoipočasovnih treninga i grupne intervencije na prethodno isplaniranom mestu u Savamali. Lori Boldvin je master student i umetnik performansa, poreklom iz SAD-a. Lori je stažirala pri programu Trećeg Beograda pod nazivom Mi volimo i umetnost drugih na projektu Urbani inkubator: Beograd. Obučena je u tehnici Viewpoint (tačke gledišta) i predavala je isti metod na devetomesečnoj seriji časova na Tarifima, Španija. Viewpoints metoda, koju su razvile Ana Bogart i Tina Landau, trenira um i telo u vremenu i prostoru pritom stvarajući vokabular pokreta. Nije reč o plesu ni o pozorištu. Viewpoints obučava um i telo putem vežbi improvizacija. Tehnika se oslanja na sposobnost grupe da budu otvoreni prema sami sebi i drugima, te i spremnosti da se automatski odgovori na grupni napor. Rezultat svake od dve radionice je dokumentovana interakcija učesnika sa jedinstvenim prostorom Savamale.

Lori Baldwin

The workshop of this particular sight-specific performance method took place with two different groups: Week 1 – May 20, 22, 24 at 19h and May 25 at 14h Week 2 – May 27, 29, 31 at 19h and June 1 at 14h Each workshop consisted of 3 days (Monday, Wednesday, Friday) of 2 ½ hour training sessions with one day (Saturday) when the group will perform a semi-planned, semi-improvised site-specific intervention in Savamala. The facilitator of workshops, Lori Baldwin, is a Masters student and artist-performer, originally from the USA, who did her internship at the Third Belgrade pertaining to Urban Incubator: Belgrade We also love the art of others project. She has trained extensively in the Viewpoints technique and has taught the method in a 9-month class series in Tarifa, Spain. The Viewpoints method, developed by Anne Bogart and Tina Landau, works with bodies in time and space, creating a vocabulary for movement. It is not dance; it is not theatre. Viewpoints trains bodies and minds with improvisational exercises. The technique relies on the group being open to themselves and one another, with bodies that are ready to respond and work in instant collaboration with others. The result of each of the two workshops is a well documented interaction of participants with the unique space of Savamala. 69

KOLONIJA U ART COLONY JALOVIKU IN JALOVIK 72

IZLOŽBA 34. I 35. SAZIVA KOLONIJE U JALOVIKU

EXHIBITION OF THE 34TH AND 35TH ART COLONY IN JALOVIK

8 – 30. jun 2013.

June 8 – 30, 2013

Galerija TREĆI BEOGRAD,

THIRD BELGRADE gallery,

Pančevački put BB

U Galeriji na Dunavu, tokom juna predstavljeni su radovi nastali na prethodne dve kolonije u Jaloviku.

During June, at the Gallery on Danube there was an exhibition set-up comprised of artworks produced at the previous two art colonies in Jalovik.

Za više informacija o koloniji posetite: http://www. jalovik.net/. Katalog 35. kolonije u Jaloviku je dostupan na: http://www.jalovik.net/data/pdf/JLK%20katalog%202012%20screen.pdf

For more information about the art colony, visit: http://www.jalovik.net/. The catalogue of the 35th art colony in Jalovik is available at: http://www.jalovik.net/data/pdf/ JLK%20katalog%202012%20screen.pdf

Koncert Concert of savremene contemporary klasiÄ?ne muzike music 76

Koncert savremene klasične muzike

Concert of contemporary music

9. jul 2013.

July 9, 2013

Galerija TREĆI BEOGRAD,

THIRD BELGRADE gallery,

Pančevački put BB

Klasa profesora Klausa Langa pri Univerzitetu umetnosti u Gracu, u okviru svoje turneje održala je koncert u galeriji Trećeg Beograda. U okviru dvočasovnog koncerta izveli su dela savremene muzike, performans i mini operu. Kompozitori, izvođači i vizuelni umetnici uključeni u projekat su: Ja Young Baek (KR), Matej Bunderla (SI), Fabian Fischer (DE), Seongmin Ji (KR), Anna Kropfelder (DE), Klaus Lang (AT), Sabine Maier (AT), Adam McCartney (IE), Kelvin Ng (CN), Hristina Takovska (MK), Ivan Trenev (MK) i Yulan Yu (CN).

Professor Klaus Lang class at the Art University of Graz held a concert at the Gallery Treći Beograd as part of their tour. Within the 2-hour event, they performed pieces of contemporary music, performance and an operetta. Composers, performers and visual artists that were involved with this project: Ja Young Baek (KR), Matej Bunderla (SI), Fabian Fischer (DE), Seongmin Ji (KR), Anna Kropfelder (DE), Klaus Lang (AT), Sabine Maier (AT), Adam McCartney (IE), Kelvin Ng (CN), Hristina Takovska (MK), Ivan Trenev (MK), and Yulan Yu (CN).

MAKE A WISH MAKE A WISH 78

MAKE A WISH

U maju 2013. godine Ksenija Jovišević i ja učestvovale smo na prvom ArtSample razgovoru u okviru projekta Urbani Inkubator koji je namenjen oživljavanju beogradske četvrti Savamala. Nezavisna umetnička asocijacija Treći Beograd videla je u Savamali mesto na kome bi umetnici iz različitih sredina i različitih senzibiliteta imali priliku da rade i da međusobno komuniciraju. ArtSample koncipiran je kao razgovor sa odabranim parom mladih umetnika koji kroz kratko predavanje o umetnicima i teoretičarima koji su na njih uticali pokušavaju da objasne i približe svoj rad publici. Program Trećeg Beograda u projektu Urbani Inkubator nosi naziv “Mi volimo i umetnost drugih”, što bi u ovom slučaju značilo da Treći Beograd “voli” našu umetnost i poziva nas da je zbog toga predstavimo, a mi dobijamo priliku da biramo radove nekih drugih umetnika koje mi “volimo” i koje takođe predstavljamo u okviru ovog razgovora. Na taj način stvara se jedan niz umetnika koji ”vole” radove drugih umetnika, da bi finalni ishod bio predstavljanje ovog niza publici. Ono što je ključno u pozicioniranju bilo kog umetničkog rada na trenutnoj sceni upravo je odnos sa ostalim umetničkim radovima i paralele koje se povlače između aktuelnih umetnika kao i svih umetnika koji su do sada stvarali. Odnosi u kojima se nalazimo sa drugim umetnicima ključ su za razumevanje sopstvenog rada kao i eventualnih pravaca u kojima bi taj rad mogao da se kreće. Često imam priliku da na izložbama ili kada neko pogleda moj rad na internetu čujem neki komentar o radu. To se uglavnom svodi na “It’s awesome” ili “Baš mi se sviđa tvoja izložba” ili neki namig, ili takozvani “klimoglav“, ali se retko kada dešava da neko priđe i da nešto pita, iako ja mogu

In May 2013, Ksenija Jovišević and myself took part in the first ArtSample talk, as part of Urban Incubator project dedicated to reviving Belgrade’s quarter called Savamala. Independent artistic association Third Belgrade saw Savamala as a place for artists from different environments and sensibilities to work and communicate with each other. ArtSample is meant as a talk with a selected pair of young artists who would hold a lecture about other artists and theoreticians that had influenced them, thus trying to better explain and contextualise their work to the audience. Third Belgrade’s programme pertaining to the Urban Incubator is named We also love the art of others, which in this particular case means that Third Belgrade ‘loves’ our art and has thus invited us to present ourselves. We were given an opportunity to present work of other artists that we ‘love’ along with our projects. That way, a whole line of artists who ‘love’ works of other artists is presented to the audience, and this line as a whole is the final outcome of presentation. What is crucial in positioning any artwork within the current art scene, is precisely its relation to other projects and parallels one can draw between contemporary artists and those of the past. Relationships that we find with other artists are the key for understanding our artwork and possible options for further development of that work. I often have a chance, when somebody sees my work at an exhibition or internet, to hear a comment about my work. These comment boil down to “It’s awesome” or “I really like your exhibition” or some other vague hint, the so-call “nod off“, yet rarely there is a situation where I am approached and asked something specific. This is despite the fact that many are often uncertain of what my work is

Ana Banduka o Savamala ArtSample razgovoru i izložbi

Ana Banduka about Savamala ArtSample talk and exhibition that followed

sa sigurnošću da tvrdim da je na pojedinim radovima prilično nejasno o čemu se tu zapravo radi ili da je barem moja zamisao tog rada potpuno drugačija od onoga kako ga ostali tumače, što ne mora uvek nužno da bude loše. Ovakva vrsta prezentacije, tj priče o radovima dobra je jer omogućava umetnicima da objasne svoj rad, a da pritom ne budu ograničeni samo na statement ili naziv. Nekada je priča o nekom radu mnogo šira nego što to sam statement dozvoljava, a isto tako kontinuitet nečijeg rada govori mnogo više o pojedinačnom radu kojeg izdvojeno viđamo u galeriji. Pri završetku Ksenijinog i mog izlaganja publika je bila pozvana da postavlja pitanja i to je ono što je po mom mišljenju bilo najplodonosnije u okviru ovog razgovora. Pokrenula su se pitanja oko dalje umetničke strategije, položaja mladih umetnika u Srbiji danas, oko razloga iz kojih se stvara umetnost, savremenih načina izlaganja, kvaliteta umetničkog obrazovanja. Činjenica da smo bile u poziciji da odgovorimo na ova važna pitanja i da dobijemo feed back od ljudi koji dolaze iz drugih oblasti zanimanja jako je bitna i donela nam je drugačiju perspektivu u odnosu na naš rad. Ono što je zajedničko našim radovima je to što se i Ksenija i ja bavimo pitanjima intimnosti i podele te intimnosti sa publikom. Na kraju razgovora Treći Beograd ponudio nam je mogućnost da realizujemo izložbu u prostoru galerije Trećeg Beograda (sadašnja Galerija Perpetuummobile) na obali Dunava. Koncept ove izložbe izabrale smo na osnovu zaključaka koje smo izvele iz razgovora, a to je da obe veoma pozitivno posmatramo umetnost danas, prespektive koju umetnost ima u komunikaciji sa publikom u savremenom društvu i mogućnostima da umetnik deluje u okviru društva i da utiče na podizanje društvene i esteske svesti. Naziv izložbe “Make a wish” proizašao je iz zajedničkog polazišta da mišljenje određuje razumevanje života i odnos prema njemu, a da ga mašta čini vrednim življenja. Na izložbi smo predstavile radove koji su odgovarale ovom nazivu. Ono što je karakteristično za sve izložene radove je to što se oni bave sanjarenjem i što predstavljaju ideale kojima težimo. Ta izložba predstavlja ostvarenje jednog sna, zapravo dva, koje sanjaju dve umetnice u prostoru umetnika koji takođe sanjaju jedan potpuno drugačiji san.

about or my take differs from how other interpret my work, which is not necessarily a bad thing. This way of presentation, i.e. talking about artwork, is beneficial because it enables artists to explain their work, while at the same time avoiding the limitations of an artist’s statement or mere title. Sometimes a story about particular work goes far beyond what format of artist’s statement allows, and, furthermore, insight in continuity of someone’s work speaks greater lengths about one particular work then if we were to see the work isolated in a gallery. At the second part of ArtSample talk, the audience was invited to ask Ksenija and myself questions; in my opinion, this was the most fruitful part of the whole talk. Some of the questions that were raised related to issues such as artistic strategy, position of young artists in Serbia today, reasons behind creating art, quality of art education etc. The fact that we were in a position to answer these important questions put before us and to receive feedback from people working in other fields was quite valuable and brought in a different perspective to our work. In our work, Ksenija and I both deal with the issues of intimacy and sharing intimacy with the audience, and this is what, in a sense, brought us closer together. Thus, at the very end of the talk, Third Belgrade offered us a possibility to make an exhibition in the gallery space on the Danube River (now called Gallery Perpetuummobile). The concept for this exhibition developed from the conclusion we made during the art talk. It comprises of the fact that both of us regard art today in a positive manner, as well as the perspective in communicating with the audience, possibilities for an artist to work within a society, and make an influence on raising awareness and aesthetic sensibility. The title of the exhibition “Make a wish” came out of our shared viewpoint that the manner of thinking makes the understanding of life and relation towards it, and that imagination makes life worth living. At the exhibition, we presented artworks that were compatible with the title. What characterizes all exhibited artwork is the fact that they all deal with dreaming and present ideals we strive for. The exhibition itself is a dream come true, two dreams actually, which were dreamt by two artists in the space of other artists who, again, dream of something else entirely.

MAKE A WISH

7 - 13. septembar

September 7 – 13, 2013

Galerija TREĆI BEOGRAD,

THIRD BELGRADE gallery,

Pančevački put BB

/Autor: Ksenija Jovišević/

/Author: Ksenija Jovišević/

Make a wish Make it happen Count to three Make it happen All your dreams all your planes All your lifetime Make it now

Thieves Like Us – ‘Miss You’ Lyrics

U maju 2013.godine, Ana Banduka i Ksenija Jovišević imale su čast da se javno predstave na prvom u nizu Savamala ArtSample razgovora sa mladim umetnicima, jednog dela programa Trećeg Beograda u okviru projekta Urbani inkubator, nakon čega su pozvane da se predstave i zajedničkom izložbom u prostoru Galerije Treći Beograd. Očigledna povezanost kako u mišljenju tako i u delu, uputila je na ideju da izložbu realizuju na osnovu pozitivističkog stava koji je čvrsto utemeljen u polazištu rada obeju umetnica, kao i imaginacije, početne stanice ostvarenja svih želja. Naziv izložbe ‘Make a wish’ prvi je stih poslednje strofe pesme, koja je poslužila kao glavna inspiracija noseći u sebi konotaciju pozitivne misli, mogućeg, najavljenog ispunjenja, dok su ostali stihovi na neposredan način zamenjeni tekstom izložbe kao i vizualno predstavljeni radovima. U ovom slučaju naziv pesme kao ni naziv grupe nije bitan, iako bi mogao da im se pronađe značajan kontekst. Koncept izložbe preispituje granice mogućeg, realnog, nametnutog, onoga što mi mislimo da jeste i onoga što stvarno jeste. Verujemo da je stvarno

In May 2013, Ana Banduka and Ksenija Jovišević had the honour of presenting themselves to the public through Savamala ArtSample talks with young artists, as part of Third Belgrade’s programme pertaining to the Urban incubator project. The event was followed by an invitation to exhibit together in the Gallery space of Third Belgrade. The evident resemblance in contemplating and working, drew artists to base their exhibition on a positivistic attitude which was firmly grounded in the viewpoints of both artists, and imagination, as a starting point for all desires’ fulfilment. The title of exhibition ‘Make a wish’ is the first line of the song verse, which served as main inspiration. It carried within itself a connotation of positive thought, possible, hinted fulfilment, whilst the other lines were directly substituted with the text of artists’ statement and, visually, with the artwork setup. In this case, neither the song title nor the band matter, despite the fact that their contextualisation might be significant. The exhibition concept explores the boundaries of possible, real, imposed, and all that one feels to be or that really is. We believe that it is real only

Izložba Ane Banduke i Ksenije Jovišević

Exhibition of Ana Banduka and Ksenija Jovišević

samo ono što možemo da razumemo, vidimo, dodirnemo, prepoznamo. Međutim, vreme je privid, univerzum je beskrajan, a nebo je svih boja osim plave. Koncept ukazuje na to kolika je naša odgovornost za ono što jesmo ili bi trebalo da jesmo, i kako smo samo mi ti koji možemo da utičemo da to što jeste bude ono što želimo da jeste.

what one can grasp, see, touch, recognize. However, time is an illusion, universe is endless, the sky is coloured with every other colour but blue. The concept draws one’s attention to the amount of responsibility behind what one is or what one ought to be, as well as the fact that solely they can influence the transformation of their wishes into becoming true.

“Sve što možemo da zamislimo postoji, a ovaj svet samo je odraz naših maštarija.“ Henry David Thoreau

“All we can imagine exists, for the world is but a canvas of our imagination.“ Henry David Thoreau

Arhitektura sećanja / Unutrašnji pejzaž 84

Architecture of memory / Inner landscape

Arhitektura sećanja / Unutrašnji pejzaž

Architecture of memory / Inner landscape

15 - 29. septembra 2013.

September 15 -19, 2013

Galerija TREĆI BEOGRAD,

THIRD BELGRADE gallery,

Pančevački put BB

Izložbа je zаmišljena kаo vizuelni dijаlog dve umetnice, Nine Todorović i Svetlane Volic. Svаkа se iz svog uglа posmаtrаnjа bаvilа ličnim odnosom premа grаdu i neposrednoj okolini u kojoj obitаvа, kаo svedok promenа u dаtom istorijskom trenutku nа urbаnističkom i аrhitekstonskom plаnu, аli i promenаmа koje ti procesi ostаvljаju nа mentаlnim i duhovnim mаpаmа pojedincа i zаjednice, sa specifičnim osvrtom na lične porodične istorije i najranija sećanja.

The exhibition is meant as a visual dialogue between two artists, Nina Todorović and Svetlana Volic. They are both rendering the city and immediate surroundings of where they live. As witnesses of changes in urban and architectural plan within a specific historical moment, and the changes that these processes leave on mental and spiritual maps of the individual and the community, the two artists put special emphasis on personal family histories and earliest childhood memories. The exhibition comprises of lambda prints, ambiance arrangement and video installation.

Izložba Nine Todorović i Svetlane Volic

Exhibition of Nina Todorović and Svetlana Volic

Refleksije iz oštećenog Reflections from života Damaged Life

/Autor: Predrag Terzić/

/Author: Predrag Terzić/

Sistem isprva označava samo određeni način suodnošenja; biologistički pojam sistema zahteva povrh toga da izvan konteksta nijedan deo ne bude ono što predstavlja u kontekstu. Sasvim jednostavno: preparirano srce više nije srce živoga tela. Burghart Šmit (Burghart Schmidt)

The system initially signifies only a certain way of interrelation; in addition to that, the biologist’s term of system requires that none of the parts outside the context is what it represents within the context. Quite simply: Stuffed heart is not the heart of the living body. Burghart Schmidt

Kada već govorimo o srcu i o sistemu, možemo slobodno reći da je srce živog tela u Srbiji odavno preparirano, kao i da je sistem okrenut ka jednom cilju: ličnom preživljavanju. U tom okruženju je veoma teško pronaći dozu optimizma za bolje sutra. Donekle se i okruženje u kojem živimo može uporediti sa problemom Džona Mardoka iz filma Grad tame (Dark city), koji se najedanput budi u gradu gde je okrivljen za ubistvo koje nije počinio. U gradu gde Stranci (Daemons - Strangers) kontrolišu sve, od promene gradskog ambijenta (koji se u filmu menja u određenom vremenskom ciklusu), rada u njemu, preko pokušaja da se ugrabi sećanje svakog stanovnika, gde ih i menjaju, te se tako dođe do krajnje tačke zanimanja Stranaca: ljudskog duha. Ono što se dešava sada jeste sistem koji govori sve je dopušteno. Dopušteno je da se menja, ukla nja, gradi, ruši, betonira, vadi, čupa, u sistemu koji je u ljubavi prema kratkoročnim navikama, u sistemu gde se javlja uzbuđenje koje se ni na šta ne odnosi, pogođenost koja ništa ne pogađa. Prošlost se ovde uzima samo kao potreba da bi se sistem opravdao. Od nužnosti i njenog pukog izvršenja nema nikakve koristi niti prošlost, niti budućnost. Samo trenutno zadovoljenje i potreba da se ponovi nešto što je bilo bez ikakvog otklona od protoka vremena i sadašnjosti. Pusta želja da se izgradi, stvori, napravi Gralski zamak. Saznanje o Gralskom zamku nema nikakve veze ni sa onim ranijim, pređašnjim, na 86

When we talk about the heart and the system, we can say that the heart of the living body in Serbia has been stuffed for a long time, and that the system is turned towards a single goal: personal survival. In this environment it is very difficult to find a dose of optimism for a better tomorrow. To some extent, the environment in which we live can be compared with the problem of John Murdoch, from the movie Dark City, who suddenly wakes up in a city where he is charged with murder he did not commit. In a city where Strangers (Daemons-Strangers) control everything, from changing of urban environment (which in the film changes in a specific time cycles), working in it, to attempting to grab the memory of every citizen, and where they are altering it, so that everything comes to the end point of the occupation of Strangers: human spirit. What is happening now is a system that says everything is permitted. It is allowed to change, construct, demolish, concrete, remove, pull, in a system that is in love with short-term habits, in a system where the excitement that is not related to anything appears, where the fake feelings of being emotionally touched fail. The past is taken here only as a need to justify the system. Out of necessity and its sheer performance does not benefit either the past or the future. Only instant gratification and the need to repeat something that was not devi-

drugom mestu, niti sa ovim novim, današnjim. Ovde dolazimo do mita o Parsifalu i njegovom gledištu na novonastalu građevinu; niti je taj zamak onaj stari, niti je sam Parsifal isti, kao kada ga je video prvi put. Svetlana Volic i Nina Todorović svojim novim radovima ispituju i beleže prethodna stanja (otiske starih kuća kod Nine), novonastalo stanje (prekrivanje fasada kod Svetlane) i sećanje koje je i te kako važno za donošenje konačnog suda. Suda koji je okrenut ka mogućnosti stanovanja, koja je uništena stvarnošću novog sistema koji je postao, za građansko društvo, nesreća koja joj se prikrada. U takvom prostoru, a koji se u sistemu nalazi između out-puta i in-puta, ne događa se ništa zanimljivo. Praznina u kojoj pojedinac pokušava da preživi i ujedno ne gleda šta se dešava između outputa i in-puta, već samo vodi računa da ostane na površini. Događaji koji se odvijaju u sistemu preko out-puta i in-puta su izmešani, ubrzani, rastrzani, samleveni u toj razmeni da pojedinac koji se nalazi u međuprostoru ne može adekvatno da odreaguje i biva okrenut zaboravu. Obe umetnice pokušavaju kroz svoje radove da se otrgnu zaboravu, i to kroz sećanje i drugačiji pogled koji se najedanput prikazao. Dok se Nina Todorović bavi istraživanjem i pokušajem da zabeleži sve one kuće koje su imale emociju i svoj karakter unutar prostora u kome su nastajale, Svetlana Volic, probudivši se u svojoj zgradi koja je obmotana tkaninom, pokušava da sagleda situaciju koja joj se najedanput javila. Drugim rečima, njihov pokušaj da zabeleže jeste, na tragu onoga što je Čarls Mur (Charles Moore) u svom radu uvek imao na umu: Zgrade moraju biti takve da u njima mogu prebivati ljudska tela i misli, moraju uspostaviti veze sa prošlošću i evocirati sećanja. A u našoj stvarnosti kuće i zgrade se grade nesmanjenom žestinom, ali se sve više primećuje da arhitekti ponestaje mašte, kao da se zgrade smišljaju pod sloganom: Ura, ništa mi više ne pada na pamet! Zgrade sve više bivaju poput otvorenog umetničkog dela, te pažnju skreću tako što podsećaju na nešto što je posmatraču kao kroz maglu poznato i razumljivo. Poput scene iz pomenutog filma Grad tame, u kojoj neki od građana biva upitan od strane Mardoka, za jednu ulicu i kako da stigne do nje; on dobija odgovor da građanin zna gde je ta ulica, da mu je mnogo poznata, ali da ne može da mu objasni kako do tamo da dođe. Osim što nam se menja okruženje, menja nam se pamćenje vezano

ated from the passage of time and from the present. A futile wish to build, create, make the Grail castle. Knowledge of the Grail castle has nothing to do with the earlier, the previous elsewhere, nor with this new, today. So here we come to the myth of Parsifal and his views of the new building; neither was it the old castle, nor was Parsifal the same as when he first saw it. In their new works, Svetlana Volic and Nina Todorović examine and record the previous states (imprints of old houses in Nina’s works), the new situation (covering the facade of the building in Svetlana’s works) and memory that is very important for the final judgment. The judgement that faces the possibility of residence, which was destroyed by the reality of the new system that has become the accident that is stalking a civil society. In this space, which is located within the system between out-put and in-put, nothing interesting happens. The void in which one tries to survive and at the same time does not look at what happens between the out-put and the in-put, but just tries to take care to stay on the surface. Events that occur in the system over the out-put and the in-put are mixed, rapid, distracted, ground in that exchange so that an individual who is in the interspace cannot respond adequately and is facing oblivion. Through their works, both artists are trying to break away from oblivion, through memory and a different perception that suddenly appeared. While Nina Todorović deals with exploration and attempt to capture all those houses that have had their character and emotion within the area in which they were made, Svetlana Volic, awoken in her apartment building that was wrapped in cloth, is trying to understand the situation that she suddenly appeared in. In other words, their attempt to record is on the track of what Charles Moore in his work always had in mind: Buildings must be such that the human bodies and mind can reside in them, they have to establish connections with the past and evoke memories. And in our reality houses and buildings are built with the same intensity, but it is getting more and more noticeable that architects are running out of imagination, as if the buildings come up with the slogan: Hooray, I have no idea (I have not got a clue)! Buildings are increasingly becoming like the open work of art, and so they draw attention by reminding the viewer of something that is vaguely 87

za određeno mesto, što utiče na naše sećanje koje tokom vremena postaje slabije i na kraju iščezava. Drugim rečima, u biti se javlja situacija o nasilnoj identifikaciji s izgrađenom okolinom, jer više nema vremena za prilagođavanje. Pomenutim postupkom arhitektura pribegava ka impozantnosti i pokušava da svoj primetni problem reši interesovanjem za uzvišenost. Međutim, takva uzvišenost svodi se samo na puku potragu za veličinom, gde joj se još oduzima beskonačnost i fragmentarnost. Hladno uređenje okolnog prostora i postavljanje zelene površine koja potencira monumentalnost objekta, samo još više ističe nepovezanost sa raskošnim materijalima koji su korišćeni i velikim utroškom rada, kao i sa koncentracijom pažnje javnosti u društvenom životu. Ovakvim postupkom se samo postiže da uzvišenost biva smešna od samog početka. Da se poslužimo rečima Adorna, u lažnom ne postoji pravi život. Svetlana Volic i Nina Todorović svojim postupkom postavljaju pravila i nova značenja, koja ne teže ka označenom, već ka onome čime se označava, dakle od realizovane funkcije znaka ka posmatranju znaka po sebi. Drugim rečima, dobijamo njihovo isključivo usredsređivanje, ne na postavljanje pitanja o stvarnosti, već ka načinu na koji se proizvodi stvarnost kao vrednosno neutralno.

familiar and understandable. Like a scene from the film Dark City, in which one of the citizens is asked by Murdoch for a certain street, and how to reach it; he is told that the citizen knows where that street is, it is very familiar to him, but he cannot explain him how to get there. In addition to our changing environment, the memory of the specific place is also being changed, affecting our own memory, which over time becomes weaker and eventually disappears. In other words, it appears to be a situation of forced identification with the built environment, because there is no time for adjustment. By the aforementioned, procedure architecture courses to grandeur and tries to solve its noticeable problem by taking an interest in the sublime. However, this superiority is more about a mere quest for greatness, where infinity and fragmentation is taken away from it. Cold arrangement of the surrounding area and set up of the green space which emphasises the monumentality of the object, only further highlights the disconnection between rich materials that were used and a large expenditure of labour, as well as the concentration of public attention in social life. By this procedure it can only be achieved that the greatness gets ridiculous from the start. To use Adorno’s words, in the fake there is no real life. With their action, Svetlana Volic and Nina Todorović are setting the rules and new meanings which do not tend to the labelled, but to the means of labelling, therefore from the realised function of the sign to observing the sign itself. In other words, we get their exclusive focus, not on questions about reality, but on the way in which reality is produced as a value-neutral.

Avganistanski Afghan dnevnik diary 90

IMAGINARNI GRADOVI STVARNOG SVETA: Avganistanski dnevnik

IMAGINARY CITIES OF THE REAL WORLD: Afghan diary

29. septembar 2013.

September 29, 2013

Galerija TREĆI BEOGRAD,

THIRD BELGRADE gallery,

Pančevački put BB

/Autor: Konstantin Novaković/

/Author: Konstantin Novaković/

Nakon otisaka grada Beograda, arhitekture sećanja i unutrašnjih pejzaža preselili smo se u neke daleke predele, sećanja i realnosti gradova koji za većinu predstavljaju samo maglovitu predstavu: Imaginarni gradovi postali su stvarni kroz pogled putnika-fotografa koji nam je preneo iskustva sa svog nedavnog putovanja u Avganistan. Neformalno predavanje ilustrovano foto-sesijom bila je prilika da iz prve ruke saznamo kako danas izgleda život u Avganistanu, zemlji koju preko tri decenije razdiru ratni sukobi. Posebna pažnja bila je posvećena nastajućoj kulturnoj sceni ove zemlje, koja zahvaljujući entuzijazmu nekolicine umetnika, od kojih je autor neke imao priliku da upozna, doživljava svojevrsnu renesansu.

After the footprints of the city of Belgrade, architecture of memory and inner landscapes we have moved to the distant regions, memories and realities of cities that for the majority are representing just a vague idea: Imaginary cities became real through the view of a traveler and photographer who told us about his recent trip to Afghanistan. This informal lecture followed by a photo presentation was the opportunity to hear a first-hand experience how the life in Afghanistan looks like today, a war-ridden country for over a three decades. Special attention was given the emerging Afghan cultural scene which is currently experiencing a renaissance thanks to the enthusiasm of a handful of artists of whom the author had a chance to meet some.

Između ostalog, posetioci su imali priliku da čuju kako lokalnim prevoznim sredstvima kopnom stići iz Srbije do Avganistana, o mladom slikaru iz Herata koji slika pomoću prašine i peska, o životu umetnika u vreme Talibana, novoj muzičkoj sceni Kabula, kao i zbog čega je Majn kampf najpopularnija knjiga u Avganistanu.

Also, visitors had the opportunity to hear how to reach Afghanistan from Serbia using local means of transportation, about the young painter from Herat who uses dust and sand for painting, about the life of Afghan artists during the period of Taliban rule, about the new music scene of Kabul and as well why Main Kampf is the best seller in Afghanistan.

Konstantin Novaković je istoričar umetnosti iz Beograda, pasionirani putnik i fotograf. Organizovao je više samostalnih, istraživačkih putovanja širom Evrope, Severne Afrike, Bliskog istoka, Indijskog podkontinenta, kao i Srednje i Istočne Azije, pri čemu je boravio u više od pedeset zemalja. Fotografijom se bavi skoro dve decenije i do sada je realizovao više samostalnih izložbi.

Konstantin Novakovic is an art historian from Belgrade, traveler and photographer. His travels include more than fifty countries in Europe, North Africa, Middle East, Indian subcontinent and Central and East Asia. He realized several solo exhibitions so far.

Događaj je upriličen povodom svečanog zatvaranja izložbe ARHITEKTURA SEĆANJA / UNUTRAŠNJI PEJZAŽ, Nine Todorović i Svetlane Volic.

The event was hosted on the occasion of the closing ceremony of the exhibition ARCHITECTURE OF MEMORY/ INTERIOR LANDSCAPE of Nina Todorovi and Svetlana Volic.

IZGUBLJENA THE LOST BLAGA TREASURE SAVAMALE OF SAVAMALA 94

IZGUBLJENA BLAGA SAVAMALE

THE LOST TREASURE OF SAVAMALA

5 – 25. oktobar 2013.

October 5 – 25, 2013

Galerija TREĆI BEOGRAD,

THIRD BELGRADE gallery,

Pančevački put BB

/Autor: Stevan Kojić/

/Author: Stevan Kojić/

Projekat Izgubljena blaga Savamale se zasniva na iniciranju bio/tehno-muzeološke zbirke sačinjene od fiktivne kolekcije elektronskog otpada (tehnoobjekata) i živih organizama (bio-objekata) navodno pronađenih na „lokalitetu“ Savamale. Polazeći od samokritičnog odnosa prema dosadašnjim site-specific, in-situ i eko-art praksama uz autoironični pristup i angažovanje uobičajenih „metoda istraživanja“ datog mesta, dobijene istorijske, socijalne, geo-političke i tehno-biološke informacije se transformišu u nove sintetičke forme. Kroz subjektivni doživljaj okruženja, spekulativno se nagoveštava jedno moguće/nemoguće stanje u paralelnoj sadašnjosti ili budućnosti. Savamala, kao vitalno saobraćajno, trgovinsko i kulturno-umetničko odredište zasićeno arhitektonskim, umetničkim i socijalnim eklekticizmom, logično postaje potencijalni mikro model futurističkog megapolisa. U imaginarnom post-apokaliptičnom dobu, odbačeni objekti (pronađeno blago Savamale) postaju aktivni subjekti tehno-bioloških struktura novih virtualnih svetova.

Project The Lost Treasure of Savamala is based on the initiation of organic/techno-museological collection which is complied of fictive electronic waste (technological objects) and live organisms (bioobjects), allegedly found in the Savamala district. Bearing in mind the self-critical relation toward site-specific, in situ and eco-art practices and auto-ironical approach and engagement of the usual ‘research methods’, given space, historical, social, geo-political and techno-organic pieces of information are transformed into synthetic forms. Through subjective rendering of the environment, the possible/impossible condition in the parallel present or future is hypothetically hinted. Savamala, as a vital transportation, trade and cultural place soaked with architectural, artistic and social eclecticism, logically transforms itself into a potential micro model of futuristic megapolis. In the imaginary post apocalyptic age, discarded objects (the found treasure of Savamala) become active subjects of techno-organic structures within the new virtual worlds.

Izložba Stevana Kojića

Exhibition of Stevan Kojić

We are living We are living in a beautiful in a beautiful woUrld - Graz woUrld - Graz 98

We are living in a beautiful woUrld - Graz U okviru projekta Generation Lost: Life without art(ists)

We are living in a beautiful woUrld - Graz WITHIN THE PROJECT Generation Lost: Life without art(ists)

26. oktobar - 03. novembar 2013.

October 26 – November 03, 2013

/diSTRUKTURA/

Generation Lost je projekat koji se, u saradnji sa Academie Graz i kunst ost realizovao u periodu od 10. 09 - 26.10. 2013 u Grazu, i tiče se pitanja migracija a posebno “odliva mozgova” (brain drain). LIFE WITHOUT ART(ISTS) je poslednja faza pomenutog projekta koja ima za cilj da predstavi naš doprinos ovoj temi u vidu dva rada, We are living in a beautiful wOURld - Graz i Homeland, koja su izvedena u Gracu i Gleisdorfu u septembru 2013.

Generation Lost is a project initiated by Academie Graz and kunst ost, which was carried out in Graz from 10.09 to 26.10.2013, and is concerned with issues of migrations, especially issue of brain drain. LIFE WITHOUT ART(ISTS) is the last stage of this project, with a purpose to present our contribution to these topics in form of two works We are living in a beautiful wOURld - Graz and Homeland, which were performed in Graz and Gleisdorf in September 2013.

diSTRUKTURA

Homeland je proizašao iz našeg prethodnog projekta “We are living in a beautiful wOURld” koji se takodje bavi temom migracije. Odnosi se kako na fizičku dislokaciju tako i na sociološki ili kulturološki osečaj nepripadanja. U isto vreme podstiče nas da preispitamo našu percepciju “doma” (šta je dom i gde se nalazi?). We are living in a beautiful wOURld - Graz je site-specific rad koji se fokusira na teme “odliva mozgova” i ljudskog kapitala kojima smo se bavili kroz razgovore sa nekoliko srpskih umetnika koji sada žive i rade u Gracu. Oni vas vode kroz grad dok pričaju o svojim iskustvima, poteškoćama, prednostima i mogućnostima sa kojima se suočavaju u novoj sredini. Svaka od ovih priča u video formi dostupna je preko QR coda za koji vam je potreban smart telefon i aplikacija.

diSTRUKTURA

HomeLand was born out of “We are living in a beautiful wourld” and is a continuation of the same thread, yet a separate project which focuses on and specifically addresses the issue of migration. This piece refers both to physical displacement and the sense of being socially or culturally “out of place”, and at the same time it questions our perspective of home (what is home and where is it?). We are living in a beautiful wOURld - Graz is a site-specific work which is focused on the issues of brain-drain and human capital. We tackled these issues in our conversations with several Serbian artists who now live and work in Graz. They guide you through the city while sharing their experience and discussing the difficulties, advantages and possibilities that arise in a new environment. Each of these stories in form of a video is available through QR code for which you need a Smart phone and an application.

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KONAČNO SAMI FINALLY ALONE / LETNJI DNEVNIK / SUMMER DIARY / SEĆANJA U / FADING MEMORY NESTAJANJU 102

KONAČNO SAMI / LETNJI DNEVNIK / SEĆANJA U NESTAJANJU

Zajednička izložba Željke Momirov i Aleksandra Rafajlovića 2 - 25. novembar 2013. Galerija TREĆI BEOGRAD, Pančevački put BB

FINALLY ALONE / SUMMER DIARY / FADING MEMORY Collaborative project of Željka Momirov and Aleksandra Rafajlovića November 2 - 25, 2013 THIRD BELGRADE gallery, Pančevački put BB

O PROJEKTU ‘SEĆANJA U NESTAJANJU – NESTAJANJE U SEĆANJU’ / Željka Momirov

ABOUT ‘MEMORIES FADING – FADING IN MEMORY’ / Željka Momirov

U najnovijem radu, koji je ujedno nastavak ciklusa pod nazivom ‘Sećanja u nestajanju – nestajanje u sećanju’, dat je prikaz jednog fotografisanog, digitalizovano obradjenog portreta moje bake, koji koordinira sa prostorom / smenjivanje pozicije za po jedno mesto u nizovima koji se javljaju i tvore brojčane vrednosti u okviru matematičke kombinatorike. Upravo ovakvi nizovi stvaraju novu vizuru vidnog polja. Uočavanje i prepoznavanje smisaonog poretka elemenata ovakvih prostornih situacija, nije samo estetski utisak, nego se puni smisao rada razabire saznavanjem oblikovne logike, regulišući njene medjusobne odnose medju pojedinačnim ponavljajućim elementima, dajući precizno ustanovljen poredak u odnosu na elemenat koji mu sledi ili predhodi.

In the most recent work, which also marks the continuation of cycle called ‘Memories fading – Fading in memory’, I provide an image of a photographed, digitally processed portrait of my grandmother, which coordinates with space / shifts positions from one sport in the line, that appear and make a numeral values as part of combinatorics. Exactly these lines make up a new perspective of the vision domain. Noting and recognizing the logic behind these elements of special situations, which provides more than an aesthetic impression, and gives full meaning to the project by working out logic of the shape, regulating internal relations among singular repeating elements, and at the same time presenting precisely the structured order of things in relation to the element which follows or precedes. ABOUT ‘SUMMER DIARY’ / Aleksandar Rafajlović

O PROJEKTU ‘LETNJI DNEVNIK’ / Aleksandar Rafajlović Jednostavno postavljen zadatak. Gledati i fotografisati svakoga dana. Osamdeset tri letnja dana na jugu Portugala u mestu koje poznajem dobro i dugo. Dvadest i dve godine. Svakodnevne beleške bez prethodnih namera. Otvorena igra. Red i redosled se sam uspostavljao. Konačno: oko pet hiljada fotografija. Proveravao sam lične stavove o svetu oko sebe i iznova ih dovodio u sumnju. Kao da ponovo koračam prvi put. Oko na prvi pogled. Boje, svetla, cvetanje, rituali, letenje, verovanja, vreme i vremena, promene i ponavljanja. Brojanje. Dobrodošlo nerazumevanje.

A task set rather simply. To watch and photograph each day. Eighty three summer days in the south of Portugal, at a place I know far and wide. Twenty two years. Daily notes without previous intentions. An open game. I alone have set order and succession. At last: around five thousand photographs. I have been looking into my personal attitudes towards the world around me, and questioning them repeatedly. As if I were walking for the first time again. Eye on the first sight. Colours, lights, blooming, rituals, flying, beliefs, times and times, changes and repetition. Counting. Welcomed misunderstanding.

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IGLO IGLOO 106

IGLO

IGLOO

Beograd, 2013

Belgrade, 2013

/Autor: Ursula Keler/

/Author: Ursula Keller/

Arhitektonska struktura Beograda, sa svojih dva miliona stanovnika, uglavnom je bazirana na istaknutim primerima iz posleratnog perioda i klasičnog modernizma između svetskih ratova. U toku 50tih i 60tih godina prošlog veka, dražava je, kao vlasnik, ovlašćena za ugovaranje, građevinski autoritet i agencija za planiranje razvoja u Beogradu, pratila strategiju u okviru koje je uticaj ‘zapadnih’ trendova u arhitekturi namerno suzbijan kako bi se stvorili uslovi za gradnju nezavisnom poetikom. Jugoslovenske arhitekte su pokazale delikatno rukovanje građevinskim materijalom, zajedno sa dubokim poznavanjem geoloških korena, zanatski i kvalitet strukture površine, što se može opaziti na fasadama koje se sastoje od vruhunsko obrađenog kamenja. Što se tiče današnjice, pravi je izazov naći bisere arhitektonske prošlosti ispod debelih slojeva sivila koje je ostavio zagađeni vazduh. Posivele kuće ‘Beloga grada’ spavaju post-socijalističkim snom u sumrak. Današnji konzumeri se ne osećaju odgovor nim za njihovu prezervaciju niti su u mogućnosti da pokriju troškove iste. Loše krpljenje, šarenilo boja i dodaci na zgradama bez koncepta su češće rešenje nego sama restauracija. Posebno se ističu sistemi za hlađenje tj. klima uređaji sa visokom potrošnjom energije, koji se nalaze gotovo na svakoj zgradi. Kompozicija slojeva prašine i klima uređaja na zidovima je ono što daje gradu izgled, a ne prisustvo modernističke arhitekture. Iglo veličine čoveka, sačinjen od 45 različitih klima uređaja, formira skulturu koja je direktna reakcija na arhitektonski kvalitet karakterističan za beogradski gradski pejzaž. Pojedinačne kutije klima uređaja funkcionišu kao medijator između

The architectural structure of Belgrade, with its two million inhabitants, is mainly based on highlights from post World War II decades and the Classic Modernism between the wars. In the 50s and 60s of the last century, it was the state in its coincident role as land owner, contracting entity, construction authority and planning agency in Belgrade that followed a strategy where the influence of ‘Western’ trends in architecture was deliberately kept away to create space for constructions with an independent poetics. Yugoslav architects have proven to be rather sensitive in handling construction materials, along with having a deep knowledge on geological origin, quality in workmanship and surface structure, which can be observed in many facades that consist of masterfully processed stones. When it comes to present-day, it has become a challenge to find these jewels from the architectural past under the thick layers of gray, that the air pollution has left. These grey houses of the “White City” are resting in a post-socialistic twilight sleep. Today’s consumers do not feel responsible for their preservation nor are able to afford the costs. Poor patching, colorful painting and building extensions without concepts are order of business instead of renovation. In particular the cooling systems of energy demanding air conditioning are growing out of each and every building. This composition of layers of dust and air conditioning on the walls is what gives the city’s surface unanimity, and not the presence of Modernistic architecture. A head-high igloo, composed of 45 different air condition units, creates a sculpture that reacts to this architectural conspicuity, which is typical for Belgrade’s cityscape. The single cooling boxes function as a mediator

Marlen Hauseger

Marlene Hausegger

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unutrašnjeg i spoljašnjeg prostora. Ovim rad vuče paralele između individualne potrebe za prijatnim vazduhom i kolektivne odgovornosti za čistim vazduhom; između neobazrivog dodatka zgradi zarad lične koristi i obzira prema kolektivnom gradskom prostoru i njegovom izgledu koji je izgrađen kroz mnoštvo dodataka; između rastuće upotrebe energije i klimatskih promena. Skulptura “IGLO” Marlene Hauseger je nastala sa značajnim naporom tokom tri meseca rezidencijalnog boravka u 2013. godini, na poziv Nezavisne umetničke asocijacije “Treći Beograd”. U Beogradu, pod umetnošću na javnim mestima se uglavnom podrazumevaju skulpture konjanika, fontane, biste ili memorijalni spomenici. Stoga, savremena umetnost na ulicama i javnim mestima, dostupna svima, zapravo je nešto na šta se tek treba privići. Skulptura “IGLO” Marlene Hauseger će biti dostupna u starom delu Beograda u toku Međunarodne nedelje arhitekture (BINA) od 8. do 22. maja 2014. godine, manifestacije pod motoom ‘Otvorena javna mesta’.

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between the outside and the inside space. Through this, the work draws parallels between individual need for tempered air and the collective responsibility for clean air; between careless addition to a building for personal benefit and sensitivity regarding the collective city space and it’s scape that is constructed through the plenty extension; between growing energy consumption and climate change. Marlene Hausegger’s sculpture “IGLOO” was produced with significant effort during a threemonth long artist residence programme in 2013, through an invitation by the Belgrade’s Independent artist association “Third Belgrade”. In Belgrade, art in public spaces is mainly understood as equestrian statues, fountains, busts of honorees or memorials. From time to time, pedestrian zones are used for photo exhibitions during warmer months. Thus, contemporary art in public streets and spaces, that can be experienced by anyone, is still something people need to get used to. Marlene Hauseggers sculpture “IGLOO” will be available in Belgrade’s old town during the International Architecture Week (BINA) from May 8 until 22, 2014, which will be held under the motto “Open Public Spaces”.

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II Autorski radovi TreĆeg Beograda / ART PROJECTS OF THIRD BELGRADE

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OSTRVO SNA DREAM ISLE ILI SAN OR DREAM OF O OSTRVU AN ISLAND 112

OSTRVO SNA ILI SAN O OSTRVU

DREAM ISLE OR DREAM OF AN ISLAND

Video projekcija, 03:19 min Kamera i montaža: Veljko Pavlović

Projection, Film 03:19 min Camera and editing: Veljko Pavlović

/Autor: Radoš Antonijević/

/Author: Radoš Antonijević/

Sa grupom Bristol Diving School Treći Beograd je došao u kontakt gostujući 2012. na Supermarket-u (Nezavisni sajam umetnosti u Stokholmu). Započeta je saradnja koja je rezultirala zajedničkim projektom MEMEX: Autoskopska vežba, realizovanim u Galeriji Karst u Plimutu (Velika Britanija), 14. – 29. marta 2013.

Third Belgrade got in touch with the group called Bristol Diving School through Supermarket (Stockholm Independent Art Fair) in 2012. A cooperation was initiated which resulted in common project called MEMEX: An Autoscopic Exercise, implemented in the Karst Gallery in Plymouth (UK), from 14th to 29th March 2013.

Odavno je utopija prestala da bude vremenska kategorija i postala geografska. Nestali su revolucionari koji stvaraju idealni svet, sad nas više privlače lažne slike raja. Sanjamo svet sa reklame koji će nas primiti bez borbe, sanjamo topla mora, postali smo turisti. Umetnici stalno putuju u idealni svet svojih slika ali neophodno je podeliti sa nekim taj imaginarni raj umetnosti ( iako bi on mogao da bude nagrada sam po sebi). Zato su na fotografijama rajskih plaža nezaobilazne zanosne lepotice ili spasioci preplanulih tela, oni su tu da budu svedoci našeg trijumfa, jer postoji se samo u očima drugih. I mi smo se spremili da putujemo, da učinimo umetnost važnom, da naše “ostrvo” Treći Beograd sretne drugo umetničko ostrvo Bristol Diving School. Nažalost isprečio se ispred nas administrativni protokol, slučaj ili nešto treće. Nismo otputovali, ali ipak putovanje nismo zamenili ciljem, Ostrvo sna se pretvorilo u San o ostrvu. Umetnici su naduvali svoje dušeke i na sopstvenom dahu utonili u još jedan zajednički san. Dve male grupe umetnika u dva daleka grada su rešili da budu zajedno tako što će zajedno spavati i sanjati neko novo ostrvo i neki novi susret. Ko zna, možda uskoro u Beogradu.

An isle of sleep or a dream about the island It’s been long since Utopia ceased to be a time category and became a geographic one. The revolutionaries who create an ideal world do not exist any longer, now we are more likely to be attracted by false images of paradise. We are dreaming of the world as seen in advertising, which will accommodate us without a fight, we are dreaming of warm seas, we have become tourists. Artists have been travelling constantly into an ideal world of their paintings but it is necessary to share with somebody this imaginary paradise of art (although it could be a reward in itself). That’s why the enchanting beauties or sun-tanned lifeguards are an unavoidable part of the photographs from the beaches of paradise; they are there to witness our triumph, because one exists only in the eyes of others. And we have also prepared ourselves for a journey, to make art important, to allow our “island” Third Belgrade to meet another art island- Bristol Diving School. Unfortunately, the administrative protocol, a chance or something else got in the way. We did not set off, but however we did not replace the journey with the aim, the Isle has turned into a dream of the island. Artists have inflated their mattresses and based on their own breath they have fallen into one more common dream. Two small groups of artists in two distant cities have decided to get together 113

by sleeping together and dreaming of a new island and a new meeting. Who knows, maybe in Belgrade soon? http://www.karst-projects.org/bristoldivingschool. html http://nomdestrip.co.uk/blog/bristol-diving-schoolthird-belgrade-memex-an-autoscopic-exercise/ http://bds-memex.tumblr.com/post/43983080936/ memex-an-autoscopic-exercise

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http://www.karst-projects.org/bristoldivingschool. html http://nomdestrip.co.uk/blog/bristol-diving-schoolthird-belgrade-memex-an-autoscopic-exercise/ http://bds-memex.tumblr.com/post/43983080936/ memex-an-autoscopic-exercise

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ZAJEDNIČKA COMMON DINING GOZBA TABLE 116

ZAJEDNIČKA GOZBA

COMMON DINING TABLE

23. mart 2013.

March 23, 2013

Kraljevića Marka 8

Program grupe Treći Beograd pod nazivom Mi volimo i umetnost drugih pri projektu Urbani inkubator u Galeriji Osmica (Kraljevića Marka 8), svečano je otvoren performansom Zajednička gozba. Performans, sa jakom ukorenjenošću u poetici Trećeg Beograda na čijim osnovama su nastali raniji radovi poput Toplog mesta i Ručka na travi, sastojao se iz velike trpeze na koju su pozvani prijatelji, umetnici i članovi lokalne zajednice (Savamale).

Third Belgrade’s programme named We also love the art of others pertaining to the Urban incubator project in Gallery Osmica (Kraljevića Marka 8), was officially opened with the Common dining table performance. The performance, rooted in Third Belgrade’s poetics, which also served as a strong base for some earlier artwork, notably Warm place and Lunch on the grass, consisted of a large dining table to which the group called other artist, friends and members of the local community (of Savamala).

Rad je imao sledeće propozicije: • Zajednička gozba označava početak; • Svako može doprineti Zajedničkoj gozbi koliko želi; • Zajednička gozba je umetnički rad Trećeg Beograda; • Mi volimo i umetnost drugih je utopističko mesto u Savamali; • Ljubav je kriterijum za umetnost; • Mi volimo i umetnost drugih počinje sa prolećem. Performans Zajednička gozba je okupio oko dve stotine gostiju.

This artwork contained the following propositions: • Common dining table is a beginning; • Everyone contributes to the Common dining table to the extent they want; • Common dining table is an artwork by Third Belgrade; • We also love the art of others is a utopian space of art in Savamala; • Love is criterion for Art; • We also love the art of others starts with spring. Performance Common dining table gathered around 200 people.

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KOLEKTIVNI SAN COLLECTIVE DREAM 120

KOLEKTIVNI SAN

THE COLLECTIVE DREAM

10 - 13. oktobra 2013.

October 10 - 13, 2013

DIE MÜHLE, Švarcau, Austrija

DIE MÜHLE, Schwarzau, Austria

/Autor: Andrea Šlemer/

/Author: Andrea Schlemmer/

OPIS Andrea Šlemer i Prostor za savremene umetničke forme “Die Mühle” pozvali su Treći Beograd da gostuje u okviru programa KONKRETNA UTOPIJA, i izvede akciju Kolektivni san, od 10. do 13. oktobra 2013. http://diemuehle.

DESCRIPTION Andrea Schlemmer and Space for contemporary artistic forms “Die Mühle” (DIE MÜHLE Raum für zeitgenössische Kunstformen, Schwarzau, Austria) invited Third Belgrade to take part in the programme THE CONCRETE UTOPIA. At this occasion the group has performed The COLLECTIVE DREAM, October 10-13, 2013. http://diemuehle.

Treći Beograd

Third Belgrade

KOLEKTIVNI SAN Na jesen 2012. godine posetila sam svoju prijateljicu Ursulu Kisling, koja je u to vreme boravila u Beogradu u sklopu rezidencijalnog boravka. Sve što sam znala je da je ona bila pozvana od nekog lika Selmana koji je deo neke umetničke grupe i nekako ima veze sa Gete institutom u Beogradu. Srećom, Ursula je imala dodatnu sobu u kojoj me je ugostila. Krećući se po gradu, u potpunosti sam se zaljubila u beogradsku arhitekturu, koja je brutalna mešavina monarhističkog stila, bauhausa sa početka 20. veka, socijalističkih i post-postmodernističkih građevina. Nakon što sam popila najbolju toplu čokoladu ikada i posetila Tesline cipele i pronalaske, Ursula me je odvela da upoznam njenog domaćina. Selman Trtovac, inteligentna, senzitivna osoba nas je odmah nakon upoznavanja odvelo do njegovog mesta utopije: do TREĆEG BEOGRADA, nedovršene ciglane zgrade na levoj obali Dunava. Sproveo nas je kroz zgradu, govoreći nam entuzijastično o planovima za budućnost i projektima koji su se već održali u galeriji, koja je pozicionirana u prizemlju zgrade. Bila sam u oblacima, razmišljajući o načinima na koje bismo mogli da se povežemo, učestvujemo ili radimo zajedno sa idealističkom i saosećajnom moći koju oboje posedujemo, imajući u vidu da smo

THE COLLECTIVE DREAM In autumn 2012 I visited my friend Ursula Kiesling, who just stayed in Belgrade for an artists residency. All I knew was, that she had been invited by some Selman-called guy being part of some art collective and somehow related to the Göthe-institute in Belgrade. Fortunately Ursula’s apartment had an extra guestroom, so I could stay with her. Moving in and around the city I totally fell in love with Belgrade’s architecture, highlighted by that brutal and fascinating mixture of monarchial, early 20th century Bauhaus-like, socialist and post-postmodern buildings. After drinking best hot chocolate ever and visiting Tesla’s Shoes and Inventions, Ursula took me to a meeting with her host. Selman Trtovac, an intelligent, sensitive person was introduced to me, and right after he drove us to his place of Utopia: TREĆI BEOGRAD, a not-yet-ready-but-alreadyimpressive brick building at Danube’s left bank. He showed us around, telling us enthusiastically about future plans and already taken place projects at the gallery space, being situated at the ground floor of the building. My brain was spinning round, thinking about ways to connect, participate or work together 121

u sred građenja mesta za umetnost i nemamo mnogo više od idealizma i vizije. Nakon povratka kući u Švarcau, selo u kome živi oko 200 stanovnika u ruralnoj jugoistočnoj Austriji, pozvala sam Treći Beograd da učesvuje u našem godišnjem programu, u okviru koga smo tragali za KONKRETNOM UTOPIJOM i načinima da realizujemo naše vizije. Sa početkom u maju, u DIE MÜHLE se održalo više pristupa temi, kroz performanse, izložbe, radionice i predavanja, koja su prikazivala perspektivu onoga što mi/umetnici želimo, delimično realzijujući, a delimično ostavljajući misao na odgovornost posetioca. Treći Beograd je bio poslednju u nizu i zatvorio je godišnji program perfomansom KOLEKTIVNI SAN, koji je bio otvoren za učešće. Došavši nekoliko dana ranije, grupa velikog potencijala postala je svedok neočekivane ‘nezgode’ koju je prouzrokovala priroda. Usled velikih kiša prethodnih dana, instalacija od stiropora Guntera Pedrotija, duga 70 metara na obližnjoj reci, oslobodila se. Skoro da se činilo da je priroda dala svoj odgovor na veštačku intervenciju time što je razbila. Pod utiskom kako iritirajuće tako i oslobađajuće atmosfere, Treći Beograd je počeo sa pripremama za performans, koje su bile propraćene diskusijama u okviru grupe, kao i velikim očekivanjem posetilaca koji su želeli da se približe umetnicima tako što će im se pridružiti u snu. Te noći, poslednja slika KOLEKTIVNOG SNA je bila zabeležena, time zatvarajući pokušaj za ostvarivanjem svojevrsne mikroutopije. “Ja sam biram svoj zadatak”, Martin Kruše, austrijski umetnik rekao je sledećeg dana, što je savršena sinteza i osnova utopijskog pokušaja. I to je upravo uradio Treći Beograd. Nismo ovde da ispunjavamo ničija iščekivanja, već da nastavimo i dosegnemo naše ideale, glasnim ali suptilnim, svakako verni sebi i hrabri u pokušaju da učinimo ovo mesto boljim. Metode se mogu menjati, ali cilj je izvestan. Radilo se o ISTINI. Hvala, Treći Beograde! Nadam se da ćemo se opet sresti!

with that idealistic and sympathetic power, both of us just being in a process of building up artistic spaces with not much but our idealism and visions. After returning home to Schwarzau, a 200-inhabitant Hicksville in rural southeastern Austria, I invited Third Belgrade to participate in our program the following year, in which we were searching for THE CONCRETE UTOPIA and ways to put our visions into practice. Starting in May, a wide range of approaches to the topic took place at DIE MÜHLE, including performances, exhibitions, workshops and lectures, all of them raising a clear perspective on what we/the artists want, partly working it out in practice, partly leaving it to the responsibility of the recipient. Third Belgrade were the last to come and finalise our year’s program with their ongoing performance THE COLLECTIVE DREAM, through which everyone was invited to participate. Arriving a few days earlier, the group high in potential became the witness of an unexpected “accident” caused by nature. Due to heavy rainfalls the previous days, a 70-meter long styropor installation on the nearby river by artist Günther Pedrotti freed itself. It almost seemed, like nature had given the answer to that artificial intervention by blowing it all. Influenced by that both irritating and liberating atmosphere, Third Belgrade prepared for their performance, accompanied by ongoing discussions within the group as well as high expectations by the participants getting to know the artists and being invited by them to join the dream. That night the last picture of the COLLECTIVE DREAM has been taken, finalizing the attempt of building a micro-utopian space. “I choose my own task”, Martin Krusche, an Austrian artist and friend said the day after, this being the perfect synthesis as well as the basement for any utopian attempt. And so did Third Belgrade. We are not here to fulfill anybody’s expectations, but to go on and reach out for our ideals, loud or subtle, but certainly faithful to ourselves and brave in our attempt of making this place a better one. The methods may change, but the goal is certain.

Februar 2014, DIE MÜHLE (Švarcau) It was all about TRUTH. Thank you, Third Belgrade! I hope we will meet again! February 2014, DIE MÜHLE (Schwarzau)

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MOŽEMO LI VOLETI Can we love what ŠTO NE POZNAJEMO we do not know 124

Slika 2013 – - Treći Beograd

Image 2013 - Third Belgrade

septembar 2013.

September, 2013

Umetnička kolonija Ečka

Art Colony Ečka

/Autor: Sunčica Lambić-Fenjčev/

/Author: Sunčica Lambić - Fenjčev/

Ove godine Umetnička kolonija Ečka pozvala je umetničku zadrugu Treći Beograd da pruži svoj umetnički pečat sazivu “Slika 2013”. Umetnici su boravili u Ečki početkom septembra ove godine kada su koncipirali svoj rad „MOŽEMO LI VOLETI ŠTO NE POZNAJEMO“ koji će biti predstavljen u Savremenoj galeriji Zrenjanin. Treći Beograd je nezavisna umetnička asocijacija, osnovana 2010. godine u Beogradu. Zamišljena je kao umetnička zadruga, a čine je umetnici i umetnice različitih opredeljenja, vajari, slikari, video i filmski umetnici. Glavni cilj grupe od njenog osnivanja do danas je istraživanje u polju umetničke autonomnosti.

This year, Art Colony in Ečka invited group Third Belgrade to provide its artistic response to the topic ‘Image 2013’. Artists have resided in Ečka in the beginning of September 2013, at which occasion they conceived the ‘CAN WE LOVE WHAT WE DO NOT KNOW?’ project, that was exhibited in the Contemporary Gallery in Zrenjanin. Third Belgrade is an independent artistic association, founded in 2010 in Belgrade. At first, it was created as a sort of art commune, and is comprised of artists with rather different approaches to art; sculptors, painters, video and film artists. The main goal of the group from its foundation up until this very day was to experiment in the domain of artistic autonomy.

Treći Beograd

Third Belgrade

Od osnivanja 1956. godine Umetnička kolonija Ečka u svojim sazivima okupljala je umetnike koji su se bavili različitim likovnim disciplinama1, da bi se vremenom održala samo dva saziva – umetnika koji su se bavili klasičnim slikarstvom u sazivu „Slika“ i umetnika koji su se bavili akvarelom u „Susretima akvarelista“. Već sedamdesetih godina kada nove umetničke prakse idu izvan ili protiv tradicionalnog slikarstva odnosno u pravcu dematerijalizacije umetničkog predmeta, a u samom slikarstvu vlada analitičko, primarno ili elementarno slikarstvo, kao i kada dolazi do napuštanja kolektivističkog duha svojstvenog kolonijskom delovanju u korist individualnog, subjektivističkog, dolazi do velikih kriza u radu Umetničke kolonije Ečka. Od tog vremena organizatori kolonije konstantno pokušavaju da sazivima umetnika pronađu nov smisao, novi profil i energiju koji bi održali okupljanja umetnika u

Looking at the period in Serbian/Yugoslav history of art from the second half of the last century to the beginning of the 2000s, art events seem to often have been defined/specialized according to certain art techniques1. Since its foundation in 1956, the Art Colony Ečka assembled in its gatherings artists engaged in different artistic disciplines and eventually only two gatherings remained – the one of artists engaged in classical painting in the gathering “Image” and of artists doing watercolour paintings in “Watercolourists meetings”. In the seventies, when new art practices go beyond or against traditional painting, i.e. towards dematerialization of an art object, and painting itself is dominated by analytical, primary or elementary painting, and when it comes to leaving the collectivist spirit characteristic of colonial activities in favor of the individual,

1 Na primer, skulptura je rađena u Pančevu, crtež u Somboru, akvareli u Karlovcima, a kasnije u Zrenjaninu, keramika u Subotici, grafika u Ljubljani, male sculpture u Maruškoj Šoboti, grafika i crtež u Zagrebu…

1 For example, sculpture was done in Pancevo, drawing in Sombor, watercolour in Karlovci, and later in Zrenjanin, ceramics in Subotica, graphics in Ljubljana, small sculptures in Murška Šobota, graphics and drawing in Zagreb...

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Ečki u životu. Godine 2006. na pedesetogodišnjicu osnivanja kolonije došlo je do promene u konceptu tradicionalnih slikarskih okupljanja. Promene u razmišljanjima, shvatanjima, percepciji i recepciji umetnosti u savremenoj umetnosti i teoriji uslovile su drugačija viđenja, poimanja, artikulaciju i prezentaciju pojma slika. Mi živimo u svetu slika, realnih ili virtuelnih, a termin slika se odavno odvojio od svoje medijske određenosti i postao široko upotrebljavani i mišljeni pojam. U skladu sa ovim promenama menjala se i ideja o suštini i smislu rada Umetničke kolonije Ečka, odnosno o radu umetnika u sazivu „Slika“. Prvi ozbiljniji rez dogodio se upravo 2006. godine, kada je u skladu sa već uveliko prisutnim pluralizmom i interdisciplinarnošću u savremenoj umetnosti, umetnicima u Ečki omogućeno da se medijski ne ograničavaju na tradicionalno podeljene likovne discipline već da svoje ideje realizuju nesmetano u različitim formama savremenog umetničkog izražavanja. Godine 2010. započelo se sa autorskim i problemski koncipiranim sazivima u Umetničkoj koloniji Ečka, pa je projekat “Slika 2010 – Still Life!” Sunčice Lambić-Fenjčev kao osnovnu ideju imao sliku prirode u današnjem društvu - preispitivanje ekoloških tema odnosno reviziju odnosa čoveka i prirode; projekat “Slika 2011 – Interakcija” Biljane Tomić suštinski je ukazao na istraživanja kompleksnih međurelacija odnosno međudejstva umetnosti i prostora/okruženja, međuodnosa samih umetnika i njihovih radova, kao i odnosa umetnik/ umetnost – publika; projekat “Slika 2012 – Opsesija”, autora Izabele Oldak govori o enormnom broju slika/informacija koje nas sa svih strana agresivno napadaju u svakodnevnom životu. Umetnička kolonija Ečka pozvala je umetničku zadrugu Treći Beograd da pruži svoj umetnički pečat sazivu „Slika 2013“. Pedesetih godina prošlog veka kada se umetnost borila za oslobađanje od dogmi socrealizma kolektivistički duh negovan u kolonijama okupljao je individualiste različitih profila da zajedničkim naporima pronađu model za ponovno osvajanje umetničkih sloboda. Danas u promenjenim društvenim okolnostima umetnici se opet udružuju u kolektive, gde se ovoga puta pojedinci svesno odriču dela svoje individualnosti da bi zajedničkim radom na jednom umetničkom delu došli do novih umetničkih rešenja koja prevazilaze i nadopunjuju rad pojedinca. Ovakvim udruživanjem umetnici danas pronalaze nove forme delovanja i kritike savremenog društva, ali i mogućnost op126

subjectivist one, there is a major crisis in the work of the Art Colony Ečka. Since then, the organizers of the colony have constantly been trying to find a new meaning, a new profile and energy with these gatherings which would keep assembling of artists in Ečka alive. In 2006 for the fiftieth anniversary of the foundation of the colony there was a change in the concept of traditional gatherings of painters. Changes in thinking, understanding, perception and reception of art in contemporary art and theory brought about different views, understanding, articulation and presentation of the concept of image. We live in the world of images, real or virtual, and the term image was long separated from its media specificity and became a widely used and comprehensible term. In line with these changes, there was also a change in the idea about the essence and meaning of the work of the Art Colony Ečka, i.e. the work of artists in the gathering “Image”. The first major cut was in 2006 when in accordance with the already present pluralism and interdisciplinary approach in contemporary art, it was made possible for artists in Ečka not to be limited by media to the traditional division of artistic disciplines, but to realise their ideas smoothly in various forms of contemporary artistic expression. In 2010 started author and problem-based gatherings in the Art Colony Ečka, and so the project “Image 2010 - Still Life” by Sunčica Lambić-Fenjčev had as its main idea an image of nature in today’s society - a review of environmental issues, i.e. a review of relationship between a man and nature; project “Image 2011 Interaction” by Biljana Tomić essentially pointed to the researches of complex interrelationships, i.e. interactions of art and space/environment, interrelationships between artists themselves and their works as well as the relation artist/art - audience; project “Image 2012 - Obsession” by Izabela Ołdak tells us about an enormous number of images/information we are aggressively attacked by from all sides in everyday life. The Art Colony Ečka invited an association of artists Third Belgrade to leave its artistic mark to gathering “Image 2013”. In the fifties of the last century when art was fighting for the liberation from the dogmas of socialist realism, the collectivist spirit cherished in the colonies gathered individualists with different backgrounds to work together to find a model for the re-conquest of artistic freedoms. Today in the altered social circumstances, artists unite again into collectives,

stanka u, za našu sredinu, drastično izmenjenim uslovima života. Početak rada „Trećeg Beograda“ u Umetničkoj koloniji Ečka inicirao je ugovor koji Savremena galerija potpisuje sa umetnicima jer se zbog promenjenog/proširenog koncepta rada saziva „Slika“ umetnicima ne dele više četkice, platna i boje, već im se isplaćuje honorar za koji oni mogu slobodno da odluče kojim će se vidom savremenog vizuelnog stvaralaštva izražavati. Produbljujući u svom radu pitanje pojma „Slika“ umetnici iz „Trećeg Beograda“ problematizuju binom umetnici – institucije, a zatim i kompleksne, zamršene veze na relaciji umetnost – vrednosti - tržište – etika – estetika – emocije – humanost - politika – društvo pokretanjem/konstruisanjem jedne zanimljive situacije koja dovodi u pitanje upravo ove pojmove koji sačinjavaju ili utiču na današnji svet umetnosti. Zrenjanin, novembar 2013.

where this time, individuals consciously renounce a part of their individuality so that, working together on a work of art, they could find new artistic solutions that exceed and complement the work of an individual. With such gatherings, artists today find new forms of action and critiques of modern society, but also the possibility of survival in, for our environment, drastically changed conditions of life. The beginning of work of “Third Belgrade” in the Art Colony Ecka initiated a contract which Contemporary Gallery signed with artists as due to the altered/ expanded concept of the work of gathering “Image” artists are no longer given brushes, canvases and paint, but are paid a fee for which they are free to decide which form of contemporary visual art they will use to express themselves. Deepening the problem of the concept of “Image” in their work, artists of “Third Belgrade” problematize the binomial artists - institutions, and then the complex, intricate relationships between art - values - market - ethics - aesthetics - emotions - humanity - politics - society by launching/constructing an interesting situation that calls into question the very concepts that make or affect today’s world of art. Zrenjanin, November 2013

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Kineska slika Trećeg Beograda “Možemo li voleti što ne poznajemo”

Chinese painting of Third Belgrade “Can we love what we do not know”

/Autor: Selman Trtovac/

/Author: Selman Trtovac/

Umetnička zadruga Treći Beograd je pozvana 2012. godine da učestvuje na Slikarskoj koloniji Ečka 2013. Tim povodom je većina umetnika Trećeg Beograda boravila tokom meseca septembra 2013. u Ečki razmišljajući zajedno o važnim pitanjima u slikarstvu i likovnoj umetnosti uopšte. Šta je slika u umetnosti danas? Slikarstvo u 2013. godini? Kakvu ulogu ima medijum slike u tradicionalnom smislu? Čitanje, prepoznavanje i shvatanje slike? Ko je autor? Kakavu ulogu imaju zanat, tehnika i tehnologija u procesu nastajanja slike? Kakve odnose slika danas proizvodi političke, ekonomske, prostorno-vremenske, etičke, emocionalne itd. Ta pitanja, ali i mnoga druga su se pojavila tokom Slikarske kolonije! Kada smo stigli u Ečku, nadomak Zrenjanina, u paviljon dvorca u kome su nekada bili smešteni ratni piloti za vreme Drugog svetskog rata, nismo znali kako bi rezultat našeg boravka tamo trebalo da izgleda. Znali smo sigurno da nećemo uzeti štafelaje, platna i četkice u ruke. Dogovorili smo se prećutno da svi zajedno “slikamo” jednu sliku, kako smo to i ranije činili. U jednom od jutarnjih razgovora na terasi paviljona Ečka neko je predložio da naručimo sliku, da nam se slika koju želimo naslika! Oko tog predloga se razvila diskusija, pominjani su i neki naši mladi, dobri slikari. Brzo smo odbacili tu pomisao, znali smo da bi tu nastao nesporazum oko toga čija je to slika, ko je autor. Nama je bila potrebna depersonalizovana slika, ulje na platnu bez imalo dileme ko je autor! Onda smo se dosetili Kine! Kinezi slikaju šta god ti padne na pamet, portrete, kuce, mace, sela, gradove i za sve imaju već razrađene metode i tarife. Jedna od tih kineskih manufaktura koja slika slike tehnikom ulje na platnu je bila i firma SunBird

An association of artists Third Belgrade was invited in 2012 to participate in the Art colony Ecka in 2013. On this occasion, the majority of artists of Third Belgrade stayed during the month of September 2013 in Ecka meditating together on some important issues in painting and fine arts in general. What is a painting in the art today? Painting in the year 2013? What role does the medium of a painting have in the traditional sense? Reading, recognizing and understanding a painting? Who is the author? What role do the craft, technique and technology have in the process of creating a painting? What relations does a painting create today - political, economic, spatial-temporal, ethical, emotional, etc. Such questions, and many more arose during the stay in Ecka! When we arrived in Ecka near Zrenjanin, in the pavilion of the castle which once housed military pilots during World War II, we did not know what the result of our stay there should be like. We knew for certain that we would not take easels, canvases and brushes in hands. We agreed tacitly to “paint” a painting together, as we used to do it, but in a different way. During one of the morning talks on the terrace of the pavilion Ecka somebody said, why don’t we order a painting, to have the painting we wish to create painted? The proposal sparked a discussion, someone mentioned some of our young, good painters. We soon dismissed the idea, we knew that there would be a disagreement on whose painting that would be, who would be the author. We needed a depersonalized painting, an oil on canvas painting without any doubt who the author was! Then someone remembered China! The Chinese paint whatever comes to mind, portraits, dogs, cats, villages,

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(http://www.oil-painting-china.com). Postojala je u početku izvesna dilema da li je etički naručiti sliku iz Kine. Ta dilema je bila posledica naše predrasude da time eksploatišemo, neke tamo jadne, kineske slikare. Nakon rasprave smo tu dilemu u potpunosti odbacili, kao neosnovanu. Odlučili smo dalje da predložak slike koja treba da nam se naslika bude fotografija sa performansa koji je Treći Beograd izveo u javnom prostoru, u kontekstu Memorijala „Nadežda Petrović“ u Čačku. Više je razloga za taj izbor. Prvo, u pitanju je pogled odozgo, sa neba, drugo predložak je predstavljao kolektivni san sa svim njegovim očiglednim i skrivenim značenjima, treće, na taj način nastavljamo razmišljanje o radu iz Čačka, što znači da taj rad nije zatvoren i četvrto, u pitanju je upravo onaj prizor, odnosno fotografija koju smo nakon putovanja kao grupa umetnika poklonili Josipu Vaništi ispred njegove slike, njegove “linije” u Zagrebu. Naslov buduće slike nas je prilično mučio. Mnoge naslove smo odbacili kao neprikladne, pretenciozne, neke zato što su nam se učinili banalni. Poslednjeg dana našeg boravka u Ečki šetali smo se po selu i slučajno nabasali na lokalnog profesora istorije u penziji, koji nas je ljubazno pozvao u svoje dvorište na kafu i kruške. Sedeli smo neko vreme u njegovoj bašti, a on nam je pričao ponešto o istoriji toga kraja. U jednom trenutku je otišao i doneo jednu knjigu. Na prvoj strani te knjige bila je rečenica: “Možemo li voleti što ne poznajemo. Autor”. Upravo tu rečenicu smo preuzeli kao naslov buduće slike. Oko formata naše buduće slike, koji su nam bili ponuđeni u tabeli firme Sun Bird, vrlo brzo smo se dogovorili i poslali upit toj firmi. U kratkom roku nam se javila izvesna gospođa Jing, rekavši nam koja će biti cena slike, te naglasivši da je cena zaista fer sa obzirom da je predložak veoma kompleksan i da će zato biti neophodno da se za slikanje te slike angažuje jedan od najboljih slikara njihove manufakture! Očigledno nije bilo prostora za cenkanje. Mi smo, naravno, sa oduševljenjem pristali na ponuđene uslove, platili i slika je počela da se slika. Nakon dvadesetak dana smo dobili povratnu informaciju, fotografiju kako izgleda naslikana slika. Ono što smo videli je bila upravo slika kakvu smo i očekivali. Pravi kliše. Potvrdili smo gospođi Jing da smo zadovoljni slikom, nakon čega nam je slika poslata DHL-om. Vrlo brzo je slika stigla u Beograd, ali je nije bilo lako preuzeti. Firma DHL nam je saopštila da

towns, and they have methods and prices already determined for everything. One of these Chinese manufactures which makes oil on canvas paintings was the company Sunbird (http://www.oil-paintingchina.com). There was initially a dilemma whether it is ethical to order a painting from China. This dilemma was the consequence of our prejudice that by doing so we exploit some poor Chinese painters. After the discussion we dismissed this dilemma completely as groundless. For the sketch of the painting that we wished to have painted we chose a photograph from the performance that Third Belgrade had done in the public space, in the context of the Memorial of “Nadezda Petrovic” in Cacak. There are several reasons for this choice. Firstly, it is a view from above, from the sky, secondly, the sketch was a collective dream with all its obvious and hidden meanings, thirdly, that way we continue to reflect on the work from Cacak, which means that the work is not closed, and fourthly, it is the very sight, i.e. the photograph that we, as a group of artists, gave after the journey to Josip Vanista in front of his painting, his “line” in Zagreb. The title of the future painting was rather distressing for us. We rejected a lot of titles as inadequate, pretentious, and some because we found them banal. On the last day of our stay in Ecka we walked around the village and accidentally came across a former local history teacher, who kindly invited us to his yard for coffee and pears. We sat for a while in his garden, and he told us a little about the history of that region. At one point he left and brought a book. The first page of the book read: “Can we love what we do not know. Author. “ It is the very sentence that we took as the title of our future painting. We quickly agreed on the size of our future painting, which we were offered in the table in the company Sunbird, and sent an enquiry to the company. Soon Mrs. Jing replied telling us the price of the painting and that the price was really fair, considering that the sketch was a very complex one and that for this painting it would therefore be necessary to hire one of the best artists of their manufacturing! Apparently there was no room for bargaining. Logically, we enthusiastically agreed to the terms offered, paid, and the painting was started to be painted. About twenty days later, we received feedback, a photograph of the painting. What we saw was exactly the painting we had expected. A 129

nije u mogućnosti da nam tek tako isporuči pošiljku, jer je u pitanju nesumunjivo umetnička slika. Procedura je nalagala da se u carinusku službu DHL u Novim Banovcima dovede kustos koji će izvršiti ekspertizu pristigle slike, te svojim pečatom potvrditi naznačeni iznos sa računa koji smo dobili, a na osnovu kog je potrabno platiti carinu. Za taj deo procesa nastajanja rada, odnosno “slikanje slike”, za pomoć smo pitali kustosa Muzeja savremene umetnosti u Beogradu, koji je zatvoren skoro šest godina, Unu Popović. Za tu priliku bilo je neophodno da Una Popović napravi faksimilpečat kod pečatoresca uz pomoć Trećeg Beograda. Kada bi se pojednostavilo, moglo bi se reći da su umetnici napravili pečat kustosu! Konačno, jednog jutra smo otišli u carinsku ispostavu DHL-a u Novim Banovcima, gde je Una napravila ekspertizu pristigle slike i zaključila da slika nema umetničku vrednost. Una je zaista imala pravo, taj predmet koji liči na sliku ništa ne vredi, bolje reći nije ništa vredeo dok od strane Umetničke zadruge Treći Beograd nije stavljen u precizno osmišljen i pažljivo isplaniran kontekst umetnosti. Završetak slike je upravo izložba pod naslovom “Možemo li voleti što ne poznajemo” u kojoj slika dobija, kao kroz neki alhemijski proces, svoju planiranu vrednost. Beograd, novembar 2013.

real cliché. We confirmed to Mrs. Jing that we were satisfied with the painting, after which the painting was sent via DHL. In a short while, the painting arrived in Belgrade, but it was not easy to take it. The company DHL informed us that it was unable to deliver the parcel just like that as it undoubtedly contained an art painting. The procedure required to take a curator to the customs DHL service in Novi Banovci who would give an expert opinion of the painting sent, and to confirm with their seal the specified amount from the invoice which we had received, and based on which we were supposed to pay the customs duty. For this part of the process of creation of work, or “painting a painting” we asked for help the curator of the Museum of Contemporary Art in Belgrade, which was closed for nearly six years, Una Popovic. For this occasion, Una Popovic had to make a facsimile seal at the seal engraver with the help of Third Belgrade. To put it in simple terms, one could say that artists made a seal for a curator! Finally, one morning we went to the customs office of DHL in Novi Banovci, where Una gave an expertise of the received painting and concluded that it had no artistic value. She really was right, the object that looks like a painting is not worth anything, better to say it was not worth anything until the association of artists Third Belgrade put it in properly designed and carefully planned context of art. Completion of the painting is the very exhibition titled “Can we love what we do not know” where the painting gains, as through an alchemical process, its intended value. Belgrade, November 2013

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Možemo li voleti što ne Can we love what we do poznajemo? not know?

/Autor: Radoš Antonijević/

/Author: Radoš Antonijević/

ALGORITAM 1. Institucija (Savremena galerija Zrenjanin) unajmljuje grupu ljudi koja sebe naziva Treći Beograd da napravi umetnički rad (sliku). 2. Institucija ovim gestom (ugovorom) proglašava Treći Beograd „umetnikom“. 3. Treći Beograd unajmljuje nepoznatog slikara da naslika njihovu sliku. 4. Treći Beograd otkriva identitet slikara i povezuje sliku sa njenim autorom. 5. Treći Beograd proglašava slikara umetnikom, a sebe proizvodi u instituciju.

ALGORITHM 1. Institution (Contemporary Gallery Zrenjanin) commissions a group of people who called themselves Third Belgrade to produce an artwork (a painting). 2. The institution, with this gesture, gives Third Belgrade artistic legitimacy. 3. Third Belgrade commissions an unknown painter to actually paint their painting. 4. Third Belgrade reveals identity of the painter and links the painting to its rightful author. 5. Third Belgrade declares the painter to be an artist, thereby promoting itself into an institution.

Drage kolege, Naručivanjem slike smo pokrenuli razmišljanje o slici kao generisanoj informaciji, koja može menjati oblik i materijal. Takođe smo ukazali da novac suštinski menja odnos prema umetnosti, samu umetnost, pa i umetnika. Ipak, nameće se pitanje, da li se napor slikara iz Kine može nazvati umetničkim? Bez obzira na okolnosti u kojima je radio. Zato predlažem da pokušamo da skeniramo proces nastanka ove naše slike do najnižeg elementa prozvodnje, do slikara – radnika. Ako saznamo ime i prezime slikara koji je slikao našu sliku, on ne bi više bio nevidljiv i bez ličnosti, već bi postao umetnik - autor. Time bi povezali naše postupke sa moralni stavom i nametnuli uslovnost da umetnik mora biti ličnost. Ono što ne poznajemo, a dolazi iz Kine je njihova kultura, ali moramo prihvatiti da smo svi mi pre svega ljudi, odnosno bića iste prirode, te da se kao takvi na nivou univerzalnih ljudskih vrednosti možemo razumeti, pa i voleti. Ako u to verujemo, onda naš umetnički rad treba da govori i o tome.

Dear colleagues, By ordering a painting, we initiated viewing a painting as generated information, which can change its shape and material. We also pointed out that money fundamentally changes the attitude towards art, the art itself, as well as the artist. However, the question arises whether the effort of the painter from China can be called artistic? Regardless of the circumstances he worked in. So I suggest we try to scan the process of the creation of our painting to the lowest element of production, the painter – the worker. If we find out the name and surname of the artist who made our painting, he would no longer be invisible and without personality, but become an artist – an author. That way we would connect our actions with the moral stance and impose conditionality that an artist must be a person. What we do not know, and which comes from China is their culture, but we must accept that first of all we are all people, i.e. beings of the same nature, and that as such at the level of universal human values, we can understand each other. If we believe in that, then our art work should speak about that.

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DOKUMENTACIJA, DEČJE BOJANKE I PEČVORK

Struktura i ključna pitanja umetničkog projekta ‘Možemo li voleti ono što ne poznajemo?’

DOCUMENTATION, CHILDREN COLOUR BOOKS AND PATCHWORK Structure and key questions behind the ‘Can we love what we do not know?’ project

/Autor: Sandra Stojanović/

/Author: Sandra Stojanović/

‘Spektakl je kapital akumuliran do stepena u kojem postaje slika.’ – Gi Debor

“The spectacle is capital accumulated to the point where it becomes an image.” – Guy Debord

‘Možemo li voleti ono što ne poznajemo?’ predstavlja jedan mogući odgovor grupe Treći Beograd na pitanje zajedničkog (tj. grupnog) umetničkog rada u kontekstu produkcije sadašnjice, te i odnos grupe prema umetničkom projektu kao takvom. On je dakle proizvod metode rada umetnika sa dijametralno drugačijim estetskim odnosom prema umetničkom objektu, koji u sebi podrazumeva proces preispitivanja automatizma prema pojimanju autorstva i medijuma slikarstva (u Srbiji). Inicijalni zadatak kolonije u Ečki u okviru koga je grupa Treći Beograd trebalo da odgovori na temu ‘Slika 2013’, svoje ispunjenje našao je upravo u odstupanju od poznatog okuženja slikarske produkcije i izazovu nepoznatog. Naime, Treći Beograd se dosta rano u procesu planiranja rada odlučuje da se prema produkciji slike odnosi po inerciji savremene proizvodnje materijalnih predmeta. Slika koja postaje iskuljučivo objektom, biva poručena u jednoj od manufakturnih radionica u Kini. Motiv koji se pojaljuje na slici je izabran tako da predstavlja Treći Beograd u već rešenom estetskom formatu fotografije performasa ‘Veliki san’. Ovim prepuštanjem same izrade slike, njenim dopremanjem u Srbiju i kontekstualizacijom u prostoru Galerije savremene umetnosti u Zrenjaninu zapravo se postavljaju preduslovi za preispitivanje autorstva nad umetničkim delom. Ono je u ovom slučaju formalno sačinjeno od postavljenog ulja na platnu sa motivom prikaza performansa Trećeg Beograda pod nazivom ‘Veliki san’ (slike iz Kine), niza dokumenata kojim se proces produkcije, dopremanja i uopšte planiranja projekta približava posmatraču, te i bojanki za decu

‘Can we love what we do not know?’ presents one possible model of group artwork pertaining to Third Belgrade in the context of today’s art production. It is also an attitude towards an art project as such. ‘Can we love what we do not know?’ ought to be seen as a product of work methodology by artists with essentially different aesthetic position to an art object, which in itself implies a process of requestioning the automatism in perception of authorship and painting medium (in Serbia). The initial taсks of art colony in Ečka, where Third Belgrade got assigned to produce artwork as response to the topic of ‘Painting 2013’, has been fulfilled through transgression from the known environment of painting production and challenge of the unknown. Namely, Third Belgrade has rather early in the process of planning the art project decided to treat the production of this particular painting innately as contemporary production of any other material good. The painting became a mere object, and was commissioned to a specialised manufacture workshop in China.The motive that appears on the paining is selected to represent Third Belgrade in an already anaesthetised form of a photograph; one frame from group’s performance ‘The Big Dream’. By letting go of the actual production of the painting, it’s shipping to Serbia and exhibited in the Gallery of contemporary art in Zrenjanin, the projects sets up prerequisites for us to start examining a right to authorship over the art project. The project is in this case formally made out of contextualised oil on canvas depicting Third Belgrade’s ‘The Big Dream’ (painting made in China),

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i pečvorka. Svaki od objekata pojedinačno predstavlja deo umetničkog nadsistema, koji jedino u svojoj celosti može biti čitan kao telo umetničkog projekta. Ovim se problematizacija klasične definicije autora jasno podcrtava, a analiza neminovno isključuje linearnost i dekontekstualizaciju pojedinačnih objekata koji su deo pomenutog nadsistema. U pitanju koje se pojavljuje u samom nazivu projekta predstavljenom kroz format izložbe, posmatrač se poziva na aktivnost – odgovor na dato pitanje. Kako je sam umetnički rad zapravo istraživanje odnosa prema umetničkoj produkciji, njegova materijalizacija počinje od prvog trenutka boravka u Ečki i koncipiranja rada. Stoga dokumentacija u formi prepiske sa vlasnicom kineske manufakture, dogovaranja grupe na fejsbuku, arhivskih snimaka itd. predstavlja osnovu za pojimanje projekta u celosti. Za posmatrača, izložba počinje iskustvom dece koja koncentrisano boje bojanke sa prikazima ‘Velikog sna’ i drugih aktivnosti Trećeg Beograda. Oni replikuju proces produkcije kineskog majstora i time prostorno suprotstavljaju i upotpunjuju položaj ulja na platnu u okviru umetničkog nadsistema. Posmatrač je pozvan da se pridruži deci u gotovo performativnom činu stvaranja novih objekata, delimičnih nosilaca smisla, te i da aktivno kreira umetnički nadsistem. Kao sledeći korak u ciklusu otkrivanja izložbe, pojavljuje se rad rađen tehnikom pečvork sa istim motivom ranijeg performansa Trećeg Beograda. Ovim radom se dodatno produbljuje odnos prema objektu na taktilnoj osnovi i (re)materijalizaciji umetničkog proizvoda. Na relaciji tradicionalni ručni rad – umetnik – telo umentičkog dela preispivanje nosioca autorstva i klasifikacije umetničkog dela ponovo postaje neminovno. Iskustvo izložbe se završava slikom rađenom u Kini, koja se u formalnom smislu od pečvorka i bojanki razlikuje u odabiru materijala. Naime, ulje na platnu sa sobom nosi dogmu umetničkog legitimiteta. U prilog tome ide i činjenica da su radnici na carini pri uvozu zahtevali procenu od akreditovanog kustosa za vrednosti objekta kao umetnine. Automatizam klasifikacije na osnovu (pozitivnih) predrasuda tehnoločkih karakteristika rada bespotrebno ograničava odnos između umetnika i publike, umetničkog dela i publike, te samim tim celokupnu funkciju i domen umetnosti. U uslovima nakon postmodernističkih praksi, gotovo je nemoguće definisati stvaralaštvo prema formi. Pojam nepo 136

an archive of documents aimed at bringing the process of production, shipping and generally planning closer to gallery visitors, as well as children colour books and a patchwork piece. Each one of the objects comprises the artistic overarching system, which can only be perceived in its entirety as a body of the art project. Thereby problematisation of the classical definition of an author is clearly emphasised, and analysis necessarily discluded linearity and de-contextualisation of individual objects from the aforementioned system. Through question that appears in the title of the projects, presented in form of exhibition, the visitor is called to take action – provide an asnwer to the given question. Since the art work itself is actually an exploration of the relations within art production, its materialisation begins from the very moment colony in Ečka started and concept developed. Therefore, the documentation in terms of correspondence with the owner of the Chinese manufacture workshop, Facebook discussions when planning things out, archive footage etc. presents the basis for comprehension of the project as a whole. For visitors, the exhibition starts with the experience of children devotedly working on colour books depicting ‘The Big Dream’ and other activities of Third Belgrade so far. Children replicate the process of production by Chinese master and consequently juxtapose in space and compliment the position of the oil painting within the system. Visitors are asked to join the children in the almost performative act of creating new objects, partial carriers of meaning, and thus actively participate in creating the art system. The next step in discovering the exhibition, consists of a patchwork piece showing the same motive of Third Belgrade’s earlier performance. Through this work, one’s relation towards the object deepens in terms of tactility and (re)materialisation of the product of art. Within juxtaposition of traditional hand craft – artist – body of artwork, the question of authorship and classification of art projects become inevitable again. The experience of exhibition ends with the painting made in China, which is only different from colour books and patchwork formally in terms of materials used. Namely, oil on canvas technique is somewhat surrounded by dogma of artistic legitimacy. Supporting this is the fact that border control demanded the painting to be officially examined by

znavanja umetničkih mehanizama i principa upravo i jeste ključ projekta, u okviru kojeg se dalje postavlja pitanje uopšte mogućnosti uspostavljanja odnosa prema onome što ne poznajemo ili naprosto ne razumemo. Blaga naivnost ili smislena provokacija teme ‘Slika 2013’ zapravo je urodila plodom u smislu pokretanja kreativnih procesa grupe. Ostvaren je kvalitetan kritički odnos prema samoj klasifikaciji umetničkog dela, odnosa autorstva te i javne percepcije umetnosti. Ono što je Trećem Beogradu bilo potrebno je da se u radu udalji od umetničkih struktura produkcije u Srbiji kako bi mu se ponovo približio. Ideja naručivanja slike iz Kine, ceo proces koncipiranja i preispitivanje umetničke strategije u okviru ‘Možemo li voleti ono što ne poznajemo?’ postigli su upravo to. Beograd, 20. novembar 2013. godine

an accredited curator in order to confirm its art market value. The automatism of artwork classification based on (positive) prejudice pertaining to technical characteristics of work, unnecessarily limits the relation between artists and audience, artwork and audience, and consequently the overall function and domain of art. After post-modern art practice, the conditions are such that is almost impossible to classify artwork on the basis of its format. The notion of unknown art mechanisms and principles is at the very core of this project, through which the issue is further addressed by questioning whether any relationship can be formed with what we do not know or simply do not understand. Mild naivety or premeditated provocation of the theme ‘Painting 2013’ has actually proven to be rather successful in initiating creative processes of the group. Third Belgrade has achieved a quality critical approach to classification of artwork, relation to authorship and public perception of art. What was needed, was for the group to distance itself from structures of art production in Serbia, only to be able to come back to it again and understand it more profoundly. The idea of commissioning a paining from China, planning and examining the artistic strategy through ‘Can we love what we do not know?’ has managed precisely that.

Belgrade, November 20, 2013

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MOŽEMO LI VOLETI ŠTO NE CAN WE LOVE WHAT WE DO POZNAJEMO? NOT KNOW? pačvork, 100x80 cm 2013

Patchwork, 100x80 cm 2013

/Autor: Olivera Parlić/

/Author: Olivera Parlić/

Tradicionalno shvaćen, pojam ručnog rada, koji se često označava kao isključivo ženska aktivnost, u kontekstu umetnosti, čak i danas, tretiran je kao manje vredan. Pojam drugosti, jedan od centralnih motiva feminističkih i postfeminističkih teorija, u ovom slučaju se nadovezuje i čini fragment izložbe Možemo li voleti što ne poznajemo, koja se između ostalog i bavi onim umetničkim praksama zastupljenim na samoj margini sistema umetnosti, koje često ostaju nevidljive i neprepoznate kao integralni deo ovog sistema. Pozicija drugog u ovom slučaju nije mesto koje je dodeljeno u hijerarhijskom smislu, već predstavlja obraćanje i poziv drugome da učestvuje, što i jeste jedan od zahteva savremene umetničke prakse. Jednom izložen u javnom prostoru, umetnički rad shvaćen kao otvoren sistem, više ne pripada autoru, on je u semantičkom smislu prepušten posmatraču koji ima aktivnu ulogu, ali i deo odgovornosti. U formalnom smislu, pačvork tehnika nedvosmisleno referiše na pikselizovanu, fragmentiranu sliku naše stvarnosti, gde motiv razbacanih prekrivača i nepravilno raspoređenih spavača (sekvenca iz snimljenog performansa Veliki san, grupe Treći Beograd) biva integrisan u objekatprekrivač. Na ovaj način transformisana slika/prizor dobija svoju predmetnost i upotrebnu vrednost u formi dečijeg pokrivača, noseći u sebi obećanje i mogućnost da se stvari mogu popraviti, a linija između života i umetnosti dovedena je do tačke preispitivanja.

In a traditional sense, the notion of hand craft, often regarded as exclusively female activity, up to this day is seen as second-rate in the context of art production. The notion of otherness, one of the key motives of feminist and post-feminist theories, in this case supplements and makes up one fragment of the Can we love what we do not know? exhibition, which among other things touches upon artistic practices at the very margin of the art system. These practices are often invisible and not perceived as integral to the respective system. The second-rate position in this respect is not a place within a hierarchy, but rather due to the fact that it calls for interaction with others, which is essentially one of the demands of contemporary art practice. Once exhibited at a public space, artwork, which is defined as an open system, stops belonging to the artists, and it is semantically left for an observer who takes over an active role and part of responsibility for the artwork. Formally, patchwork technique undoubtedly refers to pixalisation, fragmented image of our reality, where motive of covers left laying around and randomly placed individuals sleeping (sequence from performance Big Dream by group Third Belgrade) gets integrated into an object – blanket. This way, the transformed image gets materialised and use-value in the form of blanket for children. It also promises that there will be a possibility for a fix in the future, and the line between life and art is brought to a point where one is forced to re-question it.

novembar 2013. November 2013

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III Definisanje TreÄ&#x2020;eg Beograda / DEFINITION OF Third Belgrade

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ŽIVOTNI CIKLUS MALE UTOPIJE

LIFE CYCLE OF ONE SMALL UTOPIA

/Autor: Selman Trtovac/

/Author: Selman Trtovac/

“Prepoznao sam se u Vašoj metafori “Becketovska upornost”. Čini mi se da je ta metafora ostala kao jedina pokretačka sila za jednu moguću utopiju, mikro utopiju. Utopijska projekcija u kojoj radimo, mislimo i živimo (mislim na Umetničku zadrugu Treći Beograd), se između ostalog zasniva, paradoksalno, i na misaonom, istorijskom, poetskom i geografskom kontinuitetu sa utopijom u kojoj ste i Vi dejstvovali. Svestan sam da je utopija uvek osuđena na propast, ona je od samog početka bila nemoguća. “Becketovska upornost” ipak omogućava da se neminovni kraj odloži, i da se u tom odloženom vremenu do kraja projektuje jedan kolektivni ali i lični san o boljem svetu od ovoga u kome sada živimo. Taj privremeni paradoks, periodi u kojima osećamo da učestvujemo u nečem neobičnom, za mene predstavljaju konkretnu utopiju za koju vredi propasti na kraju. Moj profesor Klaus Rinke je imao običaj da kaže, herojski propasti.” Odlomak iz korespondencije Josipa Vanište i Selmana Trtovaca

“I found myself in your metaphor “Becket’s persistence”. It seems to me that the metaphor remained as the single driving force behind one possible utopia, micro utopia. Utopian projection in which we work, think and live (I am referring to the artistic cooperative Third Belgrade), is based on, paradoxically, continuity of thought, history, poetics and geography pertaining to utopia in which you yourself have acted in. I am aware that utopia is always destined to demise, it has been impossible from the very start. “Becket’s persistence” still enables the end to be postponed, and a better world, than that the one we currently live in, to be projected into that postponed time. This temporary paradox, periods in which we feel that we partake in something extraordinary, for me, represents a concrete utopia, which is worth meeting demise for. As my professor Klaus Rinke used to say – to heroically come to an end.” Fragment from correspondence between Josip Vaništa and Selman Trtovac

KAKO JE HEROJSKI PROPALA KONKRETNA UTOPIJA TREĆI BEOGRAD

U ovom tekstu se ne razmatra pitanje unutrašnjih neprijatelja umetnika Trećeg Beograda, niti pitanje karaktera. To su pitanja sa kojima se svako za sebe mora suočiti. Ovde se razmatraju pitanja umetnosti, vizije i strategije. Mida Belančić je u svom tekstu o heteroutopiji, inspirisanim Trećim Beogradom, uporedio umetničku zadrugu Treći Beograd sa prizorom iz filma Vitorija de Sike “Čudo u Milanu” gde se bednici tiskaju oko jednog zraka sunca koji se probija kroz oblak, ubrzo zatim taj se zrak sunca premešta par metara dalje, svi trče ne bi li se još malo ugrejali. Na kraju taj zrak sunca nestaje. Pitao sam se zašto je taj iskusni mislilac izabrao baš taj deo filma i up142

THE STORY OF HEROIC DEMISE OF THIRD BELGRADE’S CONCRETE UTOPIA

In this text, I do not attempt to address issues of artists’, Third Belgrade members’, internal nemesis, nor the issues of character. These are the questions each has to answer for themselves. Here, I will be looking into the issues concerning art, vision and strategy. ida Belančić, in his text about heterotopia, inspired directly by Third Belgrade, has compared the artistic cooperative Third Belgrade with a fragment from a movie by Vittorio de Sica called “Miracle in Milan”, where a number of wretched people are pushing each other around a sun beam barely showing through clouds. It soon after moves a few meters away, and they all run towards it in order to catch a bit of warmth. In the end, this sun beam

oredio nas sa bednicima koji se tiskaju pod zrakom sunca! Značenje reči utopija je ne-mesto ili mesto koga nema! U izvesnom smislu činjenica da je takvo (ne) mesto ipak neko vreme postojalo, na levoj obali Dunava u Beogradu, predstavlja paradoks. Utopije su uglavnom misaone konstrukcije, projekcije ili zamisli, ovde se radilo o umetničkom eksperimentu sa namerom da se ispita mogućnost značenja pojma konkretna umetnička utopija, odnosno njene implikacije na društvo. Sve je počelo pre četiri godine kroz udruživanje grupe umetnika oko zajedničke strategije koja je podrazumevala i neophodnost da se oformi umetnička zadruga, nehijararhijska organizacija, koja funkcioniše po principu nekadašnjih poljoprivredenih zadruga. Zadruga je od početka odavala utisak toplog mesta, koje pruža osećaj sigurnosti, ublažava egzistencijalni strah i daje dodatni smisao pojedinačnim umetničkim pozicijama unutar grupe. Moj doprinos ideji (za-druga)rstva je bila i zgrada galerije, realni prostor, odnosno mogućnost bezuslovnog korišćenja tog prostora. Zgrada je predstavljala bitan element zajedničke strategije, koji je definisan kroz pojam fizički prostor utopije. Misaoni prostor utopije, drugi element zajedničke strategije, odnosno konkretne utopije su stvorili umetnici (Anica Vučetić, Olivera Parlić, Sanja Latinović, Marina Marković, Radoš Antonijević, Milorad Mladenović, Marko Marković, Ranko Đanković, Veljko Pavlović i Selman Trtovac), sanjajući tako o boljem svetu. Taj svet je trebao da bude pun topline, razumevanja i ljubavi. Danas mogu reći da se to ponekad i osećalo! Kao posledica takve strategije je nastao niz kolektivnih umetničkih radova i interakcija sa mnogobrojnim umetnicima sa naše i međunarodne scene. Zato sada zaključujem da je utopija Treći Beograd uspešan eksperiment koji je herojski propao. Utopije po pravilu ne propadaju zbog ideje, nego zbog ljudi i okolnosti u kojima se neka određena ideja razvija. Utopija jede svoju decu, isto kao i revolucija! Iz tog razloga je bitno da utopija završi svoj živnotni ciklus na vreme, upravo da ne bi upropastila svoj prethodni život. Znao sam od početka da je društvo u kome živimo prošlo kroz dramatičan period, koji ga je izmenio, izvitoperio. Zlo je postalo relativno, ljudi su zaboravili da jasno razlikuju šta je dobro, a šta zlo. Zaboravili su mnoge vrednosti koje su generacijama pamtili. Zaboravili su i sposobnost da se stave u

disappears. I was wondering why this experienced thinker would choose precisely this movie fragment and compare us with the wretched people pushing to catch a bit of sun! The meaning of the word utopia is non-place or place that is not! In a certain sense, the fact, that this (non)place has existed for a period of time on the left bank side of Danube River in Belgrade, presents a paradox. Utopias are mainly mental constructions, projections and ideas; here, it was about an artistic experiment with an intention to explore possibilities of meaning behind the notion of concrete artistic utopia, i.e. its implications on society. It all began four years ago with formation of a group of artists gathered around the common strategy, which also implied a necessity to create an artistic cooperative, nonhierarchical organisation, which would function on principles of farming agrarian cooperatives in the past. From the beginning, cooperative was seen as a warm place, which provides a feeling of security, taking away the existential fear and giving additional meaning to singular artistic positions within the group. My contribution to the idea of cooperation were the premises of Gallery, authentic space, or better, unlimited access for unconditional usage of that space. The premises became an important element of the common strategy, which got to be defined through the notion of utopian physical space. Utopian mental space, the second element of the common strategy, or the concrete utopia, was made by artists (Anica Vučetić, Olivera Parlić, Sanja Latinović, Marina Marković, Radoš Antonijević, Milorad Mladenović, Marko Marković, Ranko Đanković, Veljko Pavlović and Selman Trtovac), whilst dreaming of a better world. This world was supposed to be filled with warmth, understanding and love. Today, I can say all of these were felt at times! As a consequence of the aforementioned strategy, a whole line of collective artwork and interactions with other artists from domestic and international scene was produced. This is why I conclude now that Third Belgrade’s utopia was a successful experiment that met its heroic demise. Utopias, as a rule, do not disintegrate due to an idea, but rather due to people and circumstances in which the idea develops. Utopia eats its children, the same way revolution does! For this reason, it is important that utopia finishes its cycle in time, right before ruining its previous life. 143

poziciju drugog, postali su u većini sebični, samoživi, lenji i beskrupulozni. Nasilje je sveprisutno. To vidimo svakodnevno, primera radi, u saobraćaju, ili na stadionima. Ubice, razbojnici, lopovi i ostale protuve su postali heroji. Jedini način na koji sam mogao da reagujem, i da barem malo doprinesem da se takav svet promeni je bio kroz jezik umetnosti. Suprotnost sveopštoj društvenoj hipokriziji, ne samo lokalnoj, bila je dovoljno radikalna osnova za razmišljanje o umetničkoj strategiji. Na toj, mogu reći, etičkoj osnovi sam kasnije i osmislio strategiju, ne samo ličnu već i predlog za kolektivnu strategiju. Pažljivo sam odabrao, a onda i pristupio određenim umetnicima, objasnio sam im karakter predloga umetničke strategije, a oni su taj predlog velikodušno prihvatili. Tako smo kroz dijalog počeli da razvijamo strukturu zajedničke konkretne utopije. Strategija i aktivnosti umetničke zadruge Treći Beograd su detaljno dokumetnovani i obrazloženi u dve male knjige, zato na ovom mestu nije neophodno nabrajati sve ono značajno što se dešavalo u prethodnom vremenu. Život te zadruge je imao čvrstu unutrašnju logiku i tok. To podrazumeva strategiju koja sadrži fizički i misaoni prostor, konstantnu umetničku aktivnost (pojedinačnu, grupnu i umrežavanje). Životni ciklus zadruge je imao sve elemente koji karaterišu život i na kraju programirani kraj, odnosno preobražaj. Merač vremena koji odbrojava, koji je u prenesenom smislu predstavljao umetnički rad za sebe, već je odavno postavljen na sajt Trećeg Beograda. Bilo je logično razmišljati na koji način životni ciklus, ili možda prvi u nizu ciklusa Trećeg Beograda treba da se završi i šta posle toga? Trebalo je u strategiju ugraditi mehanizam koji ne dopušta da se utopija pretvori u svoju suprotnost, u opomenu za druge da je sam pokušaj utopijske projekcije osuđen na potvrdu već postojeće hipokrizije. Mehanizam koji bi to sprečavao bi mogao biti u cikličnom samouništavanju, nakon čega bi se otvarala perspektiva ponovnog građenja! Konkretan razvoj događaja, koji je označio neophodnost restrukturiranja, želim da ilustrujem kroz jedan primer, kroz umetnički rad, kolektivni performans, Poslednji san kako ga je nazvao umetnik Veljko Pavlović, vajar-posmatrač. Taj rad je bio upravo okidač za prevremeno, a već ranije planirano preispitivanje umetničke pozicije, unutrašnjih odnosa i same strukture zadruge Treći Beograd. San koji smo “besprekorno” izveli u galeriji Mlin u 144

I knew from the beginning that the society in which we live in has gone through a dramatic period, which has changed and distorted it. Evil became a relative notion, people forgot to distinguish good from bad. They have forgotten many values that were previously passed on for generations. They have forgotten to put themselves in a position of another person, they became selfish, self-centered, lazy and ruthless. The violence is ubiquitous. This can be seen on daily basis, for instance, in traffic or sport stadiums. Murders, robbers, thieves and other low lives have become heroes. The only way I could react to this, and to contribute at least a bit in order to change the world, was through language of art. Mere contrast to the general social hypocrisy, was radical enough to prompt thinking about strategy. On this, I dare say, ethical ground I would later build the strategy; not only my own, but also a proposition for collective strategy. I have carefully selected, and then had approached a number of artists whom I have then explained the nature of artistic strategy proposal. They embraced it wholeheartedly. Through dialogue, we commenced to build a structure for our common concrete utopia. Strategy and activities of artistic cooperative Third Belgrade are documented and elaborated in detail through two small publications, and thus it is not necessary to list everything that previously took place here. The life of cooperative has its firm internal logic and flow. This implies a strategy comprised of a physical and mental space, constant artistic activity (individual, group and networking). The life cycle of cooperative had all the elements which characterize life and a programmed conclusion in the end, or better a transformation. The ticking clock, which metaphorically represented an art project in itself, was long set on Third Belgrade’s web site. It was logical to think of the ways to end the life cycle, or maybe only first in the line of Third Belgrade cycles, and then what? The strategy needed to integrate a mechanism which does not allow utopia to turn into its contradiction, and a reminder that a projection of utopia alone is destined to confirm the existing hypocrisy. The mechanism, stopping this decadence, would be integrated in the cyclical self-destruction, after which a new perspective of re-birth would emerge! The actual turn of events, which marked inevitability of reconstruction, I wish to illustrate through

Švarcauu pored Graca, tokom oktobra 2013. Godine bi se površnim posmatranjem, u formalnom smislu, mogao smatrati jednom uspelom slikom. U suštini se taj događaj pokazao kao poslednji element u već pomenutom životnom ciklusu utopije Treći Beograd! Dokaz tome je reakcija domaćina koji su nas najpre pozvali da izvedemo taj rad, platili nam da dođemo, pripremili se i želeli da sa nama sanjaju, a onda uprkos toj njihovoj nameri i želji, oni su neposredno pred početak performansa od toga odustali. Oni dakle nisu sanjali sa nama! Doživeli su, kako su rekli, našu umetničku aktivnost kao nepristupačnu i samozadovoljnu. Sledećeg jutra, nakon buđenja se osećala velika tenzija i nervoza. Žurilo se dalje, jer mi smo naš deo odradili! Upravo takav odnos prema sopstvenom radu, bez dovoljne kritičke refleksije, pokazatelj je ili možda u našem slučaju bolje reći, nagoveštaj procesa koji podmuklo menja karakter početne umetničke namere i pretvara ga u cinizam. Kada kažem cinizam mislim na tipičnu postmodernu krilaticu anything goes, a ona, po mom mišljenju, predstavlja suprotnost početnoj umetničkoj nameri Trećeg Beograda. Setio sam se reči umetnika Martina Krušea “Ja biram svoj zadatak sam” izgovorenih na parkingu ispred Mlina, koje je izgovorio opraštajući se od nas pred put za Beograd. Taj njegov iskaz je u stvari značio, svako je odgovoran za sebe, uprkos kolektivnoj strategiji, i svako plaća cenu sopstvenih odluka, dobrih ili loših. Bilo je neophodno delati! Ali kako? Problem se ogledao i kroz borbu za dominaciju u grupi koja je bila projektovana kao nehijararhijska. Ta borba, međutim, u našem konkretnom slučaju nije bila definisana kao borba, niti je bila transparentna, pa stoga se nije mogla pretvoriti u pozitivnu energiju, u umetnički iskaz. To ukazuje na strukturalni i organizacioni problem, odnosno na to da postojeća struktura nije mogla da omogući neutralisanje unutrašnjih antagonizama. Nadao sam se da će preispitivanje odnosa proizvesti preobražaj i da će grupa u postojećem obliku, ili barem pod okriljem postojeće metafore grupe, dobiti novi ciklus, novo vreme za rad. Većina je tvrdila da je sve u suštini dobro, i da problem leži u nesporazumima, u različitim čitanjima napisanih reči i postupaka pojedinaca. Kako naivno ili možda licemerno!? Napisao sam na posletku javno da sam umoran i da više ne verujem u utopiju u postojećem obliku i da sam odlučio da izađem iz grupe. Odmah nakon toga sam se zabrinuo, da možda nisam preterao, da je možda to suviše brzo I radikalno.

one example, an artwork, collective performance, named by Veljko Pavlović, sculptor-observer, as the Last Dream. This project was a trigger for premature, yet already planned questioning of artistic position, internal relations and the actual structure of Third Belgrade’s cooperative. The dream which was “flawlessly” performed in the Gallery Mühle in Schwartzau next to Graz in October 2013, on a first glance, could be seen as a successful endeavor. In essence, this event proved as the last element of the aforementioned life cycle of Third Belgrade’s utopia! Evidence supporting this is the reaction of the host who has invited, paid, prepared us and wanted to dream with us, and then, despite their initial wish, chose to drop out of the performance just before it was meant to start. In fact, they have not dreamt with us! They looked upon our artistic activity as inapproachable and self-sufficient. The next morning, after everyone was awake, there was tension and anxiety in the air. Everyone was in the hurry to move on, since we have done our part! Exactly this kind of relationship to our work, without a critical reflection, was an indicator, or in our case, a hint of the process that has unwittingly started to change the character of initial artistic intention, and to turn it into cynicism. When I say cynicism, I am referring to the typical postmodern chestnut anything goes, and it, according to me, represents the opposite of the original artistic intention of Third Belgrade. I remembered words of Martin Krusche, artists: “I choose my task myself”, said on the parking lot in front of Die Mühle, while saying goodbye to us before we were headed back to Belgrade. His phrase in fact meant, everyone is responsible for themselves, despite the collective strategy, or everyone pays a price for their own decision, good as well as bad. An action was needed! But, what sort? Part of the problem was reflected in the struggle for dominance within the group, which was, at first, projected to be nonhierarchical. This struggle, however, in our specific example was not defined as an open fight, nor was it transparent, and was therefore impossible to turn it into a positive energy, an artistic statement. This indicated a structural and organizational problem, or the fact that the existing structure was not able to neutralize internal antagonisms. I was hoping that this questioning of relationships would lead us to transformation, and that the group would, in its formation at the time or at least 145

Jesam li siguran u sopstveno čitanje procesa, verujem li da znam šta vidim? Činjenica da je od početka postojao izvestan disbalans u radu, energiji i vremenu potrebnim za osnovno funkcionisanje utopije nije bila sporna. Takav disbalans je tipični kliše, a takvih pojava ima bezbroj. Uprkos tome ta činjenica nije predstavljala važan element u analizi situacije. Mislilo se da je dovoljno u grupu dovesti neke nove ljude, poželjno mlade, obrazovane i sa puno energije. Taj neko bi dalje radio ono što drugi ne žele ili ne umeju i sve će biti po starom. Grupa je u prepisci naginjala stavu da se misaona i oragnizaciona struktura Trećeg Beograda po svaku cenu mora sačuvati i da se mora nastaviti sa radom, jer zadruga pokazuje dobre rezultate, uspešna je u izvesnom smislu. Ja sam zastupao tezu da sve treba srušiti i ponovo praviti. Upravo je utisak “uspešnosti” najveća opasnost koja lako vodi u oportuno stanje svesti. Jedan od ključnih umetnika, osnivača zadruge Treći Beograd, čak je u toku interne rasprave napisao:“…kao što nam nije trebala ni galerija koja je na kraju postala teg koja nas vuče na dole, jer niti imamo načina da je dovršimo niti možemo u harmoničan odnos da dovedemo lično i zajedničko”, a to predstavlja suprotnost svemu onom što je napisano u poslednje dve knjige, a u vezi je sa strategijom zadruge. Ta rečenica je uklonila svaku moju sumnju da sam možda pogrešio u analizi. Pitao sam se dalje kako je moguće misliti da je duh moguć bez tela, kako da softver radi bez hardvera i kakva je to konkretna utopija koja nema mesto (topos). Očigledno je bilo da imamo nespojivo različite stavove o prirodi i funkciji galerije, o ulozi tog mesta u umetničkoj strategiji zadruge, o shvatanju značaja mesta u ideji konkretne utopije. Ja sam galeriju shvatao kao pojedinačni bezuslovni doprinos nehijararhijskoj strukturi zadruge u cilju ranije utvrđene zajedničke strategije, a nikako kao element koji predstavlja uzrok ne-harmonije. Ekstremnost situacije je na površinu izbacila sve slabosti strukture. Naši unutrašnji neprijatelji: slabosti karaktera, strahovi, ambicije, kompleksi, samoljublje, zavist, lenjost i nemarnost, sve to zajedno prožeto cinizmom, su preobratili dotadašnje bliske saradnike, skoro prijatelje u ljute protivnike. Rešio sam da nakon izlaska iz grupe napravim potpuno novu strukturu, sa potpuno novom umetničkom strategijom, a poučen iskustvom u radu sa Trećim Beogradom. Moj odlazak će u 146

through metaphor of a group, reach a new cycle, a new time for action. Most have claimed that everything is in essence good, and that the problem lies within simple misunderstandings, in various ways of reading written words and actions of individuals. How naïve or maybe hypocritical?! In the end, I have written publically that I am tired and that I no longer believe in utopia in its existing form, and decided to leave the group. Right after that I got worried, and started questioning if maybe I had overreacted, that perhaps I moved too fast and too radically. Am I sure of my own comprehension of the process, do I trust I know what I see? The fact was that from the very beginning there was a certain misbalance in the workload, energy and time necessary for a utopia to function. Such misbalance is a typical cliché, and this was nothing new. Nevertheless, this fact did not present a major factor in the analysis of the situation. It was believed that it would be enough to bring new people to the group, young, educated and with a lot of energy. These would then be working on things others in the group did not want to or cannot do, and everything would turn back to normal. Through correspondence, the group was inclined to the idea that the mental and organizational structure of Third Belgrade ought to be preserved by any means, and that we must continue working since the cooperative has shown good results and was successful in a sense. I held the ground that it all needed to be terminated and started again. Precisely the notion of “success” is what leads one to a dormant state of mind. One of the key founders of Third Belgrade, went as far as to write the following during one of our internal correspondences:“…the same way we did not really need the Gallery space that has become a burden which pulls us down, for we have no ways to finish it nor can we balance properly personal and collective property”, and this contrasts everything that was written in the two publication in the previous years referring to collective’s strategy. This sentence removed any doubt I might have had that I had perhaps misjudged the situation. I asked myself, how it is possible to think that a mind can work without a body, how software can work without hardware and what sort of utopia it is if it has no place of its own (topos). It was evident that we have essentially different attitudes regarding nature and function of the Gallery, the role of that place in co-

svakom slučaju primorati grupu da se promeni i oslobodiće je mog viđenja stvari, što naravno daje novu perspektvu i ostatku grupe. U suštini od jedne strukture nastaju dve! To ne mora biti loše. Naprotiv! To otvara mogućnost za saradnju na jedan novi, asimetrični i fleksibilan način. Rečenica Borisa Grojsa napisana u toku diskusije, da ako umetnost želi da postane samostalna, umetnik mora da postane institucija mi je zazvučala veoma logično. Pomislio sam tada, pa da! Utopija možda može da funkcioniše na nivou pojedinca. Ta misao je omen koji sam čekao. U toj rečenici se nazirala dalja perspektiva za razvoj nove umetničke strategije. Ustrojstvo u kome je umetnik pojedinac institucija, u prenesenom smislu reči, a pod pretpostavkom da je ishodište utopija, omogućilo bi jasne odnose sa drugim umetnicima, sa potpuno različitim pozicijama, poetikama i strategijama, čije ishodište bi opet bilo utopijsko. Misaoni i radni procesi bi bili vremenski precizno određeni. Oni bi uvek bili tematski ili koncepcijski ograničeni, privremeni, brzo promenljivii na taj način vitalni! Beograd, 10.11.2013.

operative’s artistic strategy, understanding of the place within the idea of a concrete utopia. I have regarded the Gallery as an individual unconditional contribution to nonhierarchical structure of cooperative pertaining to the previously established common strategy, and not as an element that causes lack of harmony. Extreme nature of the situation made all weaknesses of the structure come to surface. Our inner enemies: flaws of character, fears, ambitions, frustrations, narcissism, envy, laziness and carelessness, all that permeated with cynicism has transformed the co-workers, and almost friends, into bitter enemies. After quitting the group, I decided to make a whole new structure of my own, with a completely new artistic strategy, lead by experience gained from working with Third Belgrade. My departure will certainly make the group change and they will be freed from my viewpoint, which of course gives them a new perspective. In essence, there will be two structures made from one! This is not necessarily bad. On the contrary! It opens new possibilities for cooperation in an asymmetrical and flexible way. The sentence of Boris Groys quoted during our discussion, referring to the fact that if art pertains to become independent, the artist must become an institution, sounded very logical to me. I thought to myself then: well, of course! Utopia can function on the level of an individual. This thought was the omen I was waiting for. There was a hint of perspective for the new artistic strategy reflected in this sentence. There would be a conformation in which every individual artist is an institution, metaphorically speaking, with a proposition that the goal is utopia. That would enable clear relations among artists with different positions, poetics and strategies; the end goal would again be utopia. Thinking and working processes would be precisely limited in time. They would further be limited by theme or concepts, appropriate, flexible and, therefore, resilient! Belgrade, November 10, 2013

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TREĆI BEOGRAD, NA PUTU

THIRD BELGRADE, ON A JOURNEY

/Autor: Radoš Antonijević/

/Author: Radoš Antonijević/

Kriza U umetničkoj grupi Treći Beograd krajem 2013. godine desile su se korenite promene. Posle dugotrajnog perioda unutrašnje krize, nastale izlaskom Milorada Mladenovića grupa je smogla snage da uđe u period unutrašnjeg preispitivanja. U mnogome je proces podstaknut ulaskom u grupu umetnice Sandre Stojanović, ali su i ostali članovi grupe slali signale da se moraju zauzeti jasnije umetničke pozicije i preduzeti konkretni potezi koji će grupu objediniti i dati joj novu energiju. Do krize je pre svega došlo, jer je koncept utopije nerazvojan. Utopija je sistem bez unutrašnjeg korektiva, niko nije odgovoran i svako radi ono što misli da mu je u tom trenutku prioritet. To dosta liči na detinjstvo do pete godine života, iznenadite se kada vam odjednom kažu da postoji škola, obaveze i da ćete odrasti hteli vi to ili ne. Da bi spolja umetnička delatnost izgledala kao utopija, iznutra se mora zauzeti mnogo čvršća konstrukcija, ali to nije bilo lako. Netransparentni vlasnički i upravljački odnosi koje smo od početka zanemarivali, onemogućili su ravnopravno ušešće u planiranju razvoja zgrade i galerije, a samim tim i čitavog koncepta utopije koji je oko tog objekta kreiran. Od samog početka to je bilo privatno vlasništvo, pa je konstrukcija ravnopravne pozicije svakog člana sama po sebi bila nerealna i pobijala svaku ideju utopije kao zemlje jednakih. Čak je Selman Trtovac na jednom sastanku rekao: „Da li ste sigurni da želite da ulažete u nešto što je moje?“, i iluzija se polako raspadala. Nije bilo ni realno očekivati da će umetnici ulagati energiju u projekte koji nisu garantovali nikakava autorska ili vlasnička prava. Ova činjenica je situaciju u vezi sa galerijom dovela do tačke da je većina umetnika želela da se

Crisis Core changes took place in the art group Third Belgrade over the course of second half of 2013. After a longer period of internal crisis, initiated when Milorad Mladenović left the group, Third Belgrade finally gathered forces to enter a period of re-questioning. In many respects, this process was encouraged by initiation of a young artist called Sandra Stojanović into the group, yet even before that many members called for a much clearer artistic position and concrete measures in order to united the group and give it a new boost. The crisis occurred mainly because concept of utopia is integral. Utopia is a system without internal corrective, no one is responsible and everyone does what they find to be a priority at that point in time. It quite resembles childhood up to the age of 5, and one is surprised when faced with existence of schools, obligations and inevitability of growing older. In order for an artistic activity to appear as utopia, from it has to have a much firmer construction from the inside, and this is by no means an easy task. Untransparent ownership and managing positions, which we neglected from the start, disabled us to equally take part in the development planning of the building and Gallery space, and therefore the entire concept of utopia around which the object was created. From the very start, the building was a private property, and thus a construction of an egalitarian position of each member was simply unrealistic and denied any prospect of utopia as a land of the equal. Even Selman Trtovac once said: ‘Are you sure you want to invest in something that belongs to me?’, and the illusion has since slowly fell apart. It really was not realistic to expect that artists will invest energy into projects, which would

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bave nečim drugim i da svoj angažman valorizuju kroz druge vidove rada grupe. Izlazak Umetnički radovi grupe Treći Beograd nisu nikada bili isključivo vezani za samu zgradu i fizički prostor koji se nazivao Treći Beograd. Toplo mesto, Kolektivni san, Kolektivni ručak, Ja volim i umetnost drugih su radovi koji su se definisali kao simbolički prostori zajedništva i kroz razne umetničke postupke bili su promišljanje o ideji kolektevizma. Ipak u početnoj fazi, situacija u kojoj smo se igrali jednakosti veoma je blagotvorno delovala na opštu klimu u grupi. U tom prvom periodu izrađeni su prvi umetnički radovi, osmišljena je i umetničko – teorijska ravan oko koje smo započeli sopstveno delovanje. Treba reći da je zgrada svojom pozicijom i svojim potencijalom u početku zaista bila zamajac koji je pokrenuo duh i okupio mnogo drugih umetnika na zajedničkom umetničkom radu i čitav umetnički projekat Treći Beograd učinio atraktivnim. U prostoru galerije i oko nje održane su mnoge umetničke izložbe i akcije. Ipak dugoročno gledano, ispostavilo se da grupa koja se poduhvatila ovog posla nije formirala modele koji bi pomenutu situaciju pretvorili u vrelo kreativnosti, što je bio cilj kada se počinjalo. Postavlja se pitanje da li su rešenja za ovakvu situaciju zaista i postojala, ili su bila previše radikalna pa nismo ni imali hrabrosti da ih uzmemo u razmatranje. U svakom slučaju nerešavanje nagomilanih problema izazvalo je različita neslaganja i nerazumevanja. Selman Trtovac jedan od osam umetnika osnivača grupe i vlasnik zgrade, iznosio je stav da bi grupa odmah po završetku započetih projekata trebalo i formalno da se ugasi. To je izazvalo velike nesuglasice, jer nisu svi članovi rešenje krize videli u prestanku rada grupe. Osvojene umetničke pozicije i uložena energija obavezivala je na nastavak rada i očuvanje onoga što je postignuto. Sve početničke naivnosti, eventualne zablude i greške mogle su se preimenovati fazom u razvoju jedne umetničke grupe samo ako bi grupa nastavila dalje. Opstanak Trećeg Beograda postao je metod kojim se daje vrednost svim radnjama obavljenim u vezi sa Trećim Beogradom u predhodne četiri godine. Uverena da je iskustvo zajedničkog rada tek sada počelo da nedri određene formalne procedure i u umetničkom i u organizacionom smislu, grupa jednostavno nije mogla nazad, jedini put je bio hrabro suočavanje sa činjenicama i pronalaženje modela za nastavak

in return guarantee them no authorship nor ownership rights. This fact about the Gallery ownership led to many of the artists from the group feeling inclined to refrain from dealing with the Gallery, and finding their motivation to engage in activities as a group in other ways. Leaving Third Belgrade’s artworks were never exclusively tide to the Gallery i.e. physical space, which used to be called Third Belgrade as well. Warm place, Collective dream, Collective lunch, I also love the art of others were projects that defined themselves as a symbolic space of collectivism, and through various artistic methods they represented exploration of the notion of collectivism. Still, at the initial phase, when we were playing with equality, the situation in which we found ourselves acted positively on the general tendencies in the group. In the first period, we made the first artworks, constructed artistic and theoretical ground around upon which to work on in the future. It has to be said that, the building with its position and potential initially induced enthusiasm and gathered many other artists around collective artwork, and consequently made Third Belgrade very attractive. In the Gallery space and around it, a number of exhibitions and activities took place. Yet, speaking of long-term perspective, it turned out that the group had not properly formed models to maintain and transform the situation into creativity vortex, which was the goal from the beginning. We may ask whether the solution for such situation ever existed, or whether they were too radical so that we refrained from taking them into consideration. In any case, by not solving pilled-up issues we cased all sorts of misunderstandings and disagreements. Selman Trtovac, one of the eight artists who founded the group and owner of the building, stated that the group should dissolve straight after projects that were up-and-running ended. This caused major differences, as many of the members did not see it fitting it fitting to resolve crisis by simply shutting the group down. We have already taken certain artistic positions and invested energy, which compelled us to continue working and preserve what has already been achieved. All the naivety in the beginning, some misunderstandings and mistakes can be rendered a mere phase in the development of artistic group. The survival of Third Bel151

trajanja. Sa druge strane niko od članova se nije osećao pozvanim da repozicionira ulogu galerije u konstrukciji rada grupe onda kada je njen zakoniti vlasnik želeo da izađe iz igre. Selman Trtovac je napustio grupu obrazlažući svoj stav umorom i neslaganjem sa ostalim članovima po ovom pitanju. Na putu U svakom slučaju grupa Treći Beograd je od 25. oktobra započela novu fazu svog delovanja koju bi, ako bi prve četiri godine nazvali Utopija, mogli po rečima umetnika Veljka Pavlovića radno nazvati Potraga. Neophodni kontinuitet sa prve četiri godine postojanja i utopijom predstavlja želja za daljim traganjem za prostorima autonomije umetnosti. Ipak u novim okolnostima moraju se preispitati pravci umetničkog delovanja i definisati jasni metodi rada. Ako je utopistički model bio direktna refleksija avangarde i radikalnih metoda autonomnosti, onda će ovaj novi model pokušati da se uhvati u koštac sa uslovima surove stvarnosti boreći se na terenu postojećeg umetničkog sistema. Kako postati istinski autonoman i suštinski ne zavisiti od tržišta, kustosa, galerista, i ukusa publike, politike? Kako ponuditi model u kome bavljenje umetnošću ima smisla i ima uticaja? To je ono na čemu je Treći Beograd radio do sada, pa će morati da nastavi da traga za tim odgovorima u budućem periodu. Ono što će sigurno biti u fokusu interesovanja grupe u periodu koji dolazi je: • Istraživanje modela zajedništva u konkretnim okolnostima, kroz produkciju zajedničkih umetničkih radova, ali i kroz razvoj unutrašnje organizacije i strukture • Razvoj novih modela umetničke prezentacije u složenim uslovima savremenosti i arhiviranje svih aktivnosti grupe. • Saradnja sa teoretičarima umetnosti, kustosima i drugim umetnicima. • Umetnička edukacija i društveni aktivizam. • Dalji individualni razvoj svakog od članova grupe. decembar 2013

grade has become a method, which gives value to all Third Belgrade’s activities in the last four years. Certain that the experience of working together has only now started to pay off and give way to formal procedures in artistic and organisational sense, the group simply could not go back; the only way was to face bravely up to the facts and find models which would ensure endurance. On the other hand, no member of the group felt like positioning the Gallery space into the construct of group’s work, when it’s only owner decided to leave the game. Selman Trtovac has left the group, justifying the act by saying he is tired and disagrees greatly with other members on the issue of Gallery space. ON A JOURNEY In any case, Third Belgrade has embarked on a new phase on October 25, 2013, which, if we were to call the last four years Utopia, now could be named Search (Veljko Pavlović). Necessary continuity of the previous four years and existence of utopia present the will to further explore spaces for artistic autonomy. However, in the newly found circumstances, ways of artistic activity ought to be re-examined and new methods of work defined. If we say that utopian model was a direct reflection of the avantgarde and radical methods of autonomy, this new model will attempt to tackle conditions of the cruel reality whilst going against the existing art system. How to become truly autonomous and essentially independent from the market, curators, galleries, audience’s taste and cultural policy? How to offer a model in which dealing with art has meaning and influence? This is what Third Belgrade has been doing so far and will continue to do so in the future. What the group will focus on is the following: • Exploring models of community in specific conditions through production of group’s artwork, and development of organisation and structure. • Development of new models of artistic presentation in the complex contemporary environment and archiving group’s activitites. • Collaboration with art theoreticians, curators and other artists. • Art education and social activism. • Further individual growth of each member of the group. December 2013

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(Odlomci razgovora između Radoša Antonijevića, Olivere Parlić, Anice Vučetić, Ranka Đankovića i Sandre Stojanović)

(Fragments of the conversation between Radoš Antonijević, Olivera Parlić, Anica Vučetić, Ranko Đanković and Sandra Stojanović)

Definisanje Trećeg Beograda Anica: Čitala sam tvoj tekst ponovo. Meni je značajan deo u kome si sažeo da su nas prvi radovi kao Toplo mesto, San, Ručak na travi učvrstili u preispitivanju kolektivizma. Ja to isto tako vidim. Bilo mi je dobro i kada si citirao Veljka1 i njegovu ideju potrage, gde se meni odmah nadovezalo ono o čemu smo pričali ranije, tj. art turizam. Potraga je kada kreneš u svet, staviš torbu na rame i krećeš u neki proces inicijacije ili otkrivanja tog sveta i sebe u svetu. Radoš: Mojim tekstom nisam hteo da sugerišem ništa novo, već mi je potpuno jasno da u onom starom, onome što je bilo zapravo se sadrži i ta neka naša budućnost. Samim tim promišljanjem svega toga, treba pronaći koja su to zdrava mesta iz kojih može da se nastavi dalje i da se malo bolje objasni šta je to što se nama dešavalo u proteklom periodu, jer smo situacije individualno doživljavali. Olivera: Da bi mogli da krenemo unapred, moramo malo i da se osvrnemo… Sandra: Mislim da u poslednjoj rečenici leži ključ stvari: svako od nas je individualno doživljavao stvari i vrhunac dokumentacije je bio kada neko iz svoje perspektive sedne i napiše tekst o tome što se dogodilo, pa mi sve do sada nismo uspeli da dostignemo sveobuhvatnost u promišljanju. To se dešavalo uglavnom zbog činjenice da prosto nije bilo prilike ili uslova da se sedne i polako analizira šta se desilo, sve dok se stvar ne dovede do neke tačke gde su pokrivena glavna mesta i doneseni određeni zaključci. Mi smo zapravo kada završimo neki rad/performans odmah bili u situaciji da radimo nešto novo. Anica: Nama su se otvarale prilike, pogotovu što se tiče Sna, dobijali smo pozive za realizaciju

Definition of Third Belgrade Anica: I read your text again the other day. What I find particularly important is that you concluded that artworks Warm place, Dreams, Lunches etc. have made us more determined in our re-questioning of collectivism. I also see it that way. It was further good that you quoted Veljko1 and his idea of Search, which referred to the other thing we talked about - art tourism. The Search is when you go into the world, put a bag over your shoulder and engage in a process of initiation or discovering the world around and within you. Radoš: With my text, I did not intend to suggest anything new; it was completely clear to me that in the old, what used to be, is the answer to what will be – it contains our future. By contemplating about all of what used to be, we ought to find healthy places from which we can further develop and better explain what was happening to us in the previous period, because we experienced everything individually. Olivera: In order to move on, we need to look back… Sandra: I feel that the key lies in the last sentence: each one of us experiences things on their own and the highlight of documentation was when one of us would write a text from their own perspective about what took place, and thus we have not been able to reach a full comprehension. This was mostly due to the fact that there simply were neither conditions nor chance to sit down and slowly analyze what was going on until we come to a certain point of conclusion. Actually, once we had a project finished, we would have just moved on to another one.

1 Veljko Pavlović: ‘Bilo je sinoć, sećanje bledi, pa ako grešim ispravite me u interpretaciji. U razgovoru po izlasku iz Magacina Radoš je izneo jednu zanimljivu činjenicu, da se na ovaj način završava jedan period UTOPIJA, koji će biti zabeležen u tri knjige Trećeg Beograda. To je Selman nekako i oglasio tekstom «Kraj jedne male utopije». Nameće se pitanje nove odrednice koja će stajati ispred zajedničkog rada. Gubitak «zajedničkog mesta», makar ono bilo i utopijsko, nekako kao prve misli nameće da bi sledeća etapa posle UTOPIJE trebalo da bude TRAŽENJE ili POTRAGA. Ovo su samo prva razmišljanja koja su možda dobra ili ne, a služe samo kao povod da se i vi uključite.’ (Beograd, 26. oktobar 2013. godine)

1 Veljko Pavlović: ‘It happened last night, the memory fades, so in case I am wrong, do correct me. While walking out from the Magacin Gallery, Radoš made an interesting claim that one period of UTOPIA ended then, and that all of this would be documented through three publications of Third Belgrade. Selman has referred to it in his text ‘Death of a small utopia’. The issue of new denominator of group’s work inevitably imposes itself. The loss of a ‘common place’, even if it were utopian, somehow makes it such that the new phase ought to be SEARCH or SEARCHING. These are only some thoughts on top of my head, which might be of use or not, but nevertheless call upon you to further comment and engage.’ (Belgrade, October 26, 2013)

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te akcije. U 2013. bilo je dva Sna i oni su se nekako definisali usput ili na osnovu situacije koja nam se ukazala. Imalo je to svoj neki tok. Olivera: Ja bih rekla da smo dosta bili nošeni inercijom. To što je Anica rekla je ključno; mi nismo kretali iz naše potrebe i iz promišljanja, nego iz toga što su nam se ljudi obraćali i zvali nas. Meni se to čini kao strašno bitna tačka iz koje bih mogla da izvučem stav kako dalje (ne konkretno, nego vise kao neki princip). Znači postaviti da je u redu biti protiv. Biti na suprotnoj stani od matice, struje, svih onih tendencija koje nas nekako vuku i nose, a da mi nismo svesni implikacija toga. Biti protiv svega onoga sa čime se ne slažem, a osećam da postoji i postojalo je mnogo stvari sa kojima se ne slažem. Meni nikada negacija nije polazište; naprotiv, uvek idem nekom afirmativnom linijom. Međutim, sada mi se čini da je to zapravo polazište, izvorište. Biti protiv onoga što prepoznajemo kao destruktivno i odvlačenje od suštine… Radoš: Aktivno kritički. Anica: Negde u početku, one prve akcije koje su bile spontane i ne previse promišljene; ja ih vidim u tom smislu. Ono kako sam ja doživljavala te akcije je upravo kao jedno vraćanje, postavljanje nasuprot svemu što nije dobro - politički, socijalno, kulturološki itd. Dakle, ja sam te akcije shvatala kao vraćanje koraka unazad potpuno ogoljenom, bazičnom životu i manifestacijama tog života: skuvati ručak, spavati, imati toplo mesto, izgraditi kuću, uhvatiti izgubljenu nit egzistencije... O tome sam govorila u našoj prošloj knjizi. Olivera: I ja isto smatram da je to bilo dragoceno, čak je to bilo možda i najautentičnije zapravo; nisam protiv spontanosti, ona može biti značajna tačka oslonca na početku. Od nečega se mora početi, a mislim da je dobro kada to dođe iznutra, iz našeg bića, stvari nisu do kraja samo konceptualizovane. Međutim, mora da postoji neki sled koraka; nešto se uradi, pa se to onda promišlja, analizira, sagledava… sigurno slede i neka pitanja, koja traže svoje odgovore/ishodište u nekom novom radu. Sandra: Slažem se da je čar tih prvih akcija zapravo što se ni vi nešto preterano nista znali, niko od vas nije sarađivao ranije… To je samo po sebi bilo novo iskustvo gde se neminovno dobija dosta stvari; ne samo u umetničkom smislu, već što se tiče sveukupnog iskustva i građe za ubuduće. Iz tog iskustva je prosto morao da se razvije neki sistem, mehanizam na osnovu koga se radi ili konstruiše 154

Anica: We lacked opportunity, especially when it comes to the Big Dream performance. In 2013, there were two such performances and they have somehow been shaped on the way or on the ground of situation that was imposed. That also had some sort of flow. Olivera: I would suggest we were rather inert. What Anica said, I think is crucial: we did not move to action from our inherit need and contemplation, but rather because people invited and called us. This to me seems like a very important point out of which I would be able to draw conclusions as to how to proceed (not specifically, but rather as some sort of principle). To make it OK to be against something. To be on the opposite side of the tide, mainstream, and al the tendencies that somehow consume and carry us along, without us being fully aware of the implications. To be against everything one is not compliant with, and yet feels there is and has been many a thing one did not comply with. Negation is not my usual starting point; on contrary, I always take the affirmative stand. However, at this point it seems to em that this is precisely the starting point, the source. To be against what we recognize as destructive and far from the point… Radoš: Actively critical. Anica: Somewhere in the beginning, the first activities were spontaneous and not overly premeditated. How I saw these actions were as taking a step back, taking a stand against everything that is not good – politically, socially, culturally etc. So, I see these actions as a step back to basics and manifestation of life; to make a meal, to have a warm place to stay, to build a home etc. Olivera: I also feel that this is precious, even the most authentic of all things actually; I have nothing against spontaneity, it can be significant as a ground point. One must start from something, and it is always good to rely on you instinct and not to let things be completely conceptual. However, there has to be some sort of procedure; something is done, and then analyzed, revisited… There ought to be some questions, which seek answers/conclusion in new projects. Sandra: I agree that the upper hand of the first actions was the fact that you did not know each other that well, nor have you worked together before that… It was an altogether new experience from which you inevitably draw many things; not only artistically, but also in terms of interaction

grupni rad. Ono što se umesto toga desilo je da se ta neodređenost prepoznala kao glavni kvalitet; premisa je da mi svi verujemo jedni drugima i bez pogovora radimo što nam neko kaže. Taj neki misticizam u komunikaciji, iako smo paradoksalno često sedeli jedni naspram drugih, postojao je. Desilo se to da se entuzijastična spontanost i nedefinisanost sa početka prepoznala kao prostor za rad određenih dominantnih ličnosti. Olivera: Naše početne akcije nastale su iz potrebe da se mi užljebimo kao grupa, zapravo kroz neke životne situacije da evoluiramo do umetničkih pozicija, pošto neki drugi zajednički imenitelj nije postojao. Radoš: Mi smo se skupili i bili smo potpuno različiti, a dugo vremena smo se nešto družili i razgovarali kao ‘trebalo bi da nešto uradimo sa tom grupom i sa tim prostorom, zgradom Trećeg Beograda’. Međutim, nismo znali tačno šta. Kao da čujem Mišu Mladenovića, koji je izrekao nešto što svi mislimo: ‘Mi treba konačno ili da počnemo da nešto radimo ili treba da se raspadnemo’. Bilo je potrebno napraviti neku umetnost i videti šta ćemo sa tim prostorom, jer prostor više ne može večno da stoji nezavršen; ili da ga aktiviramo ili da ga neaktiviramo. To je bio zaključak i počele su da se pojavljuju ideje. Sanja (Latinović) je predložila spavanje (kraj 2010. godine). Toplo mesto je bilo koncipirano kao akcija i poruka vezana za mesto tj. zgradu Trećeg Beograda, dok je San bio strategijski postavljen kao prvi rad koji će nas aktivirati kao grupu ljudi koja kreativno pravi art. U tom trenutku svi smo se plašili da predložimo nešto što bi odvuklo grupu na stranu koja bi bila samo njegova, plašili smo se da damo tvrd predlog. Pošto je Sanjin predlog bio dovoljno softan i neobrađen, mi smo mogli lako da se isprojektujemo. Svako je o snu pričao svoju priču. Meni je taj prvi san jako drag, jer se mi nismo mnogo slagali, ali smo pristajali da prođemo kroz to iskustvo. San se desio kako se desio; ima svoje dobre strane kao što je već pomenuta neposrednost, ali jasno govori o tome da smo verovali da će se forma sama nametnuti, formalno video zapis je zapravo Aničin video rad, jer si ga ti formirala sopstvenom estetikom. Nikada se mi nismo sukobili nešto oko toga i nismo definisali da li je naš rad performans, da li je događaj; mi se nikada konkretno nismo odlučili koje je ključno mesto tog rada. Normalno je kada radiš prvi put da ne znaš šta je to, ali sada je već prošlo tri godine od tada, pa bi trebali da imamo izgrađen jasan odnos prema radu.

with each other which would serve us in the future. From this experience it was necessary to develop a system, mechanism according to which one would further work and construct group’s activity. What happened instead was that this vagueness got recognized as the main quality; the premise that we all trust each other unconditionally and do as we are told. The mysticism in communication, even though we often worked face to face, paradoxically did exist. Further, the enthusiastic spontaneity and vagueness from the beginning gave fore to certain dominant personalities. Olivera: Our initial activities came out of need to form a group, and in order to evolve into artistic positions we used a set of real-life situations, since no other common denominator existed. Radoš: We gathered and were completely different, and spent much time hanging around and socializing whilst always thinking in the back of our minds ‘We should do something with the group and the Third Belgrade building’. However, we did not know exactly what. I remember Miša Mladenović talking: ‘ We have to finally start working or just go our separate ways’. It was necessary to make art and see what to do with the space, because the building cannot stay unfinished forever; we either activate it or not. After this conclusion many ideas started pouring in. Sanja (Latinović) suggested sleeping (the end of 2010). Warm place was meant as an action and message closely related to the building, whilst Dream was strategically set as the first work that would activate the group to make art. At this point we were all rather afraid to suggest something that would make the group sway in a bias way; we were afraid to make firm suggestions. Thus as Sanja’s suggestion seemed open enough, we all felt like we could project ourselves. Everyone told their own story about the Dream. The first Dream is very close to my heart, because we could not agree on anything, yet we agreed to go through the experience together. The Dream happened as it happened; the good side to it was that it was immediate, and it speaks volumes about we believe the form will impose itself. Formally, the video is Anica’s work, because she made it with her own aesthetics. We never really confronted each other about it nor did we define whether our project is performance or happening; we never determined what is the key point of our work. This is normal when one does something for the first time, but it 155

Kolektivni san u Čačku Olivera: Šta tebi tačno smeta kod tog rada? Radoš: Meni najviše smeta nepostojanje žiže rada, kada neko gleda dokumentaciju na sajtu prosto nema jasnu predstavu o tom šta smo mi hteli da kažemo. Samo u odnosu na ključno mesto, dokumentacija može biti efektno i čitljivo koncipirana. U formalnom smislu rad možemo da rešima na hiljadu načina, ali mi prosto nemamo stav. Mi kada smo završili rad, trebalo je da se upustimo u postprodukciju i izvučemo ideju. Anica: Dobro, Veljko je imao tačnu zamisao što se tiče višeugaonog snimanja… Radoš: Lepili smo ideju na ideju, pa je taj rad na kraju onako džombast, ali je pokazao da grupa ima nekoliko kreativnih centara. Počeli smo da funkcionišemo kao neko testo. To je kvalitet tog rada. Olivera: Problem vidim u tome što smo izdali oglas kako bi nam se ljudi pridružili i sam tekst oglasa sugeriše da se radi o socijalnom eksperimentu, dok se kroz dokumentaciju provlači višestrukost perspektiva. Rad ima dva potpuno paralelna fokusa, koji se suštinski ne dotiču, ali nijedan nije dovoljno isteran u svom punom potencijalu. Ali, ja sam negde u miru sa tim radom. Recimo tekst oglasa mi je odličan. Anica: Mi smo se tamo zapravo poprilično prilagodili izložbenom prostoru i organizatorima. Radoš: Mnogo smo se prilagođavali, ali zaključak je isto kao i u prvom i drugom Snu. Formalno, mi smo spavali, ali smo razrešavali jedan potpuno drugi problem. Prvi san je razrešavao jedan problem, drugi drugi…. Ti problem nisu uslovno vezani, mi smo odgovarali na date situacije. Olivera: Konteksti su različiti. Radoš: Mi smo usled različitosti koncepta tim radovima na različite načine pristupali… Poslednja dva Sna (u Bristolu i Gracu) su čista inercija i nemam neku misao o njima. Sandra: Prvi snovi bili toliko sadržajni i za grupu bitni što se tiče opipavanja ko kako radi i razmišlja, a imali i svoja ograničenja u vidu novca i vremena. Opet, nisu dovoljno analizirani, jer možda u grupi u tom trenutku nije bilo dovoljno zrelosti da se obrade na način koji bi dozvolio da se u poslednja dva Sna otvore nove mogućnosti.

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has been three years since then, and we ought to have a clear stand on our work. Collective dream Čačak Olivera: What do you find arguable about that project in particular? Radoš: I gather that there is not a focal point of it, and someone who happens to be looking at our documentation on the web site might not have a clear image of what we were trying to say. Only in relation to the key point, the documentation could be effectively and comprehensively constructed. Formally, we can sort our artwork in a thousand ways, yet we just seem not to have a stand on it. After we have had finished the project, we should have done the post-production more seriously and extracted the idea. Anica: Sure, but Veljko had a pretty precise idea about filming the event from different angles and has contacted the police… Radoš: We were adding one idea to another, and the project turned out robust in the end, but it showed us that the group has several creative centres within. We started to function as a sort of clay. That is the unique quality of this project. Olivera: I see an issue with the fact that we have published an add in order to inform people that they can join us in sleeping, and the text is highly suggestive that the whole thing is a sort of social experiment, while through our documentation the key point is the multiple perspective. The project has two completely parallel focuses, which do not really have a cross-point, yet neither is fully realized. Nevertheless, I am at peace with this project. For instance, I find the text of the add to be excellent. Anica: We have actually compromised in regards to space and organisers a lot. Radoš: Yes, we compromised a lot, and the conclusion is the same as in the first and second Dream. Formally, we have slept, yet we were dealing with another issue entirely, The first dream focused on one aspect, the second on another… These aspects were not necessarily connected, as we responded to given situation. Olivera: The contexts are rather different. Radoš: We have approached these projects differently due to the difference in concepts. The last two Dreams (in Bristol and Graz) were pure inertia and I do not have much to say about them.

Radoš: Meni se naša prepiska na Facebooku mnogo dopada i par radova koje sam uradio za Zrenjanin2 su upravo proizišli iz nje. Npr. rečenica koju Anica u jednom trenutku napiše bitno utiče na dalju koncepciju, a prepiska prosto pruža uvid u to. Na kraju, ti prosto ne možeš da pokažeš sve publici. Pritom, to je naš rad. Ceo proces. Zato što smo mi takva grupa, konačni proizvod bude uvek nekako džombast i on se meni ne dopada. Međutim, kada mislim na celokupan proces i na sve ono što smo mi prorazgovarali, šta smo jedni drugima pisali, od čega smo odustajali i na šta smo pristajali – to je vrlo uzbudljivo. Ako mi sada zaključimo da je proces mnogo bitan, onda će arhiviranje procesa postati suštinski deo naše delatnosti. Ja se tu slažem sa Oliverom kada kaže da sve ovo do sada nisu bili radovi, već akcije. Ne zbog toga što mi se to ne sviđa ili nije kvalitetno, već zato što mi nismo misaono dobacili do identifikacije toga što je bitno u svemu tome što radimo. Upravo svest o tome šta je bitno utiče na našu budućnost. Ovaj period sazrevanja je zapravo traganje za metodom pakovanja ovoga što radimo i čime se bavimo. Naravno, ako hoćemo nešto da arhiviramo prvo treba da definišemo vrednosti koje su za arhiviranje. Sandra: Da se nadovežem na to – mi smo svi ovde dobrovoljno, jer to želimo. Situacija u kojoj su ljudi upućeni jedni na druge i pokušavaju da urade nešto zajedno je upravo proces o kome Radoš govori i ključna tačka rada ove grupe. Činjenica je da smo prvi put ove godine dobili priliku da provodimo više vremena zajedno; na putu u kolima od i do Zagreba kada smo išli na Vaništinu izložbu, kolonija u Ečki i tri dana u sred ničega u selu pored Graca u oktobru. To vreme koje smo proveli zajedno pričajući je iznedrilo neku vrstu maturacije; omogućilo je da mi sada možemo da sedimo i govorimo o svemu ovome otvoreno. Anica: To nas opet vraća na pojam kolektivizma. Radoš: Ono što sam naučio za ove naših četiri godine je da forma nije toliko bitna, da se ona nekako nađe, ali da je od suštinske važnosti da imamo jasnu ideju. Ukoliko ideja tek dođe na kraju, onda nam rad izmiče i moramo da rešavamo stvari delimično putem postprodukcije. Dakle, sada je navažnije da nas više ne nosi struja toliko nego da

Sandra: The first dreams were full of content and relevant for the group when it comes to figuring out ways in which each of us functions and thinks, and were limited in terms of resources such as time and money. Again, these events were not analyzed nearly enough, because maybe the group was not mature enough to process them and open new possibilities for the last two Dreams. Conceiving artwork in the future Radoš: I am rather fond of our correspondence on Facebook, and a couple of projects I did for the exhibition in Zrenjanin2 were directly derived from it. For instance, the sentence, which Anica says at one point turns out to be significant for the further development of artwork, and our correspondence gives insight into this. In the end, one cannot show everything to the audience. This is a part of our work. Our whole process. That is because we are such a group, and our final product always turns out a bit robust and I do not like it. However, when I think of the whole process and everything we have had to say to each other, what we gave up and what we agreed on – that is entirely exciting. Should we conclude now that the process is very important, then archiving that process becomes crucial part of our activity. I do agree with Olivera when she says that all we have done up to now were more like actions, and not so much artwork. This is not because I do not like what we have done or think it lacks quality, but because we have not mentally been able to grasp what mattered in all the things we did. Precisely this awareness about what is important greatly influences our future. The period of maturation is actually searching for a method of rendering what we do and what we focus on. Of course, if we want to archive something, we ought to define values that need archiving first. Sandra: In response to that – we are all here on our free will; because we want to. The situation in which people are together and are trying to do something together is exactly the process Radoš was referring to, and at the same time the key aspect of this group. The fact is that we have for the first time this year been in a position to spend more time together: during car trip to and from Zagreb whilst visiting Vaništa’s exhibition, at the art colony

2 Treći Beograd bio je gost kolonije u Ečki u septembru 2013, a nakon toga je grupa izložila projekat pod nazivom Možemo li voleti što ne poznajemo?, koji je nastao na koloniji, u Savremenoj galeriji u decembru 2013.

2 Third Belgrade was invited to take part in Ečka art colony in September 2013, and consequently exhibit their project called Can I love what I do not know? At the Contemporary Gallery in Zrenjanin in December 2013.

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prosto mi svesno budemo ti koji određuju šta ćemo ljudima radovima da saopštimo. Anica: Do sada nismo imali ni vremena ni prostora da se na taj način time bavimo. Olivera: U tom smislu čini mi se da rad Ja volim umetnost drugih ima veliki potencijal, to je ideja oko koje se mi konstituišemo kao grupa. Radoš: Mi tek sada zapravo pričamo o umetnosti. Kraj

in Ečka and in the middle of nowhere, in a village near Graz in October. This time we have mostly spent talking, which led to some sort of maturation; it enabled us to sit here now and refer to things completely openly. Anica: Again, this brings us back to the notion of collectivism. Radoš: What I have come to learn from the past four years we have been together is that form matters very little, and that it is eventually found either way; what is crucial for us is to have a clear idea. Should the idea come to us only at the end, we somehow miss the point of the artwork and are in a position to sort things out through post-production. Therefore, at the moment, the most important thing is that we do not allow to be carried along and to consciously be the ones who initiate and determine what will be communicated about our artwork to others. Anica: Up to now, we have not had the time nor space to deal with our artwork in that way. Olivera: For this reason, it appears to me that I also love the art of others has a great potential; it is an idea around which we could construct ourselves as a group. Radoš: Indeed, we have only now started talking about art.

The End

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NOVA KOLEKCIJA

NEW COLLECTION

/Autor: Radoš Antonijević/

/Author: Radoš Antonijević/

Nova kolekcija je vid institucionalne kritke, pri čemu institucija podrazumeva specifično MSUB, ali i celokupan sistem umetnosti u Srbiji, kao simptom šire društveno-političke klime. Pod argumentom da umetnička dela njie moguće promišljati izvan i bez promišljanja uslova njihovog nastanka, Nova kolekcija nema za cilj da reprodukuje radove iz postojećih muzejskih kolekcija, već da kritički preispita uslove njihovog nastanka i uspostavi relacije prema i rekacije ka uslovima stvaranja i percipiranja umetnosti danas. – Maja Ćirić o Novoj kolekciji, mart 2014.

New collection is a form of institutional criticism, whereby the criticism is not distinctively directed towards the Museum of Contemporary Art in Belgrade, yet the entire art system in Serbia, which represents a symptom of the wider socio-political climate. Arguing that artworks are impossible to conceive without taking into account conditions under which they were made, New collection does not aim at reproducing artworks from the already existing museum collections, yet critically addresses conditions of their production, and establishes relations and reactions to conditions of art production and perception in the present day.– Maja Ćirić on New collection, March 2014.

Početna propozicija Zgrada Muzeja savremene umetnosti u Beogradu (MSUB) je u rekonstrukciji već šest godina i njena kolekcija je zatvorena za javnost. Činjenica da studenti umetnosti završavaju umetničke fakultete u ovakvim okolnostima, te da neki od njih nisu nikada bili u mogućnosti da vide umetnička dela koja se nalaze u ovom muzeju, dovodi u apsurdnu poziciju ne samo obrazovanje umetnika kod nas, veći i čitav umetnički sistem. Imajući ovo u vidu, predložio sam svojim studentima da naprave zajedničku izložbu koja bi referisala na nedostupna dela koja se nalaze u kolekciji MSUB. Zašto je muzej važan? Umetnost je društveni konstrukt, pa ako bi nekad izostala svest o tom konstruktu većina umetnika bi se vrlo brzo našla iza ograde duševne bolnice ne mogavši racionalno da obrazlože sopstvene postupke. Šalu na stranu, ali zaista u ovom društveno dogovorenom sistemu koga zovemo umetnost, Muzej savremene umetnosti predstavlja tron; ne zato što svaki umetnik teži da svoj rad vidi

Starting point Building of the Museum of Contemporary Art in Belgrade (MCAB) has been in reconstruction for over six years now, and is consequently closed for public. The fact is that students are graduating from various Art Faculties in these circumstances, and that most of them have not had the chance to see artwork in the Museum live, puts the art education in an absurd position, as well as the entire system of art. Bearing this in mind, I suggested to my students that they should make a group exhibition, which would refer to the unavailable works in collections of the MCAB. Why is a Museum important? Art is a social construct, therefore if the notion of this construct was to disappear, most artists would soon find themselves behind walls of a mental hospital without a possibility to rationally articulate their behaviour. Jokes aside, but it is rather true that in the social system we agreed upon and call 159

u jednoj od kolekcija ovakvog muzeja, već zato što muzej stvara neophodnu iluziju umetničke magije u kojoj nešto potpuno iracionalno kao što je savremeni umetnički postupak, ima svoj smisao. Od kad se umetnost odmakla od jednostavnog koncepta podražavanja vidljive stvarnosti, pozicija muzeja je ojačana do nivoa nezamenljivosti. Muzej je zapravo izvor referentnog sistema umetnosti i omogućava definisanje umetničkog u svakodnevnom, ili što je još važnije on daje model očitavnja stvarnosti sa umetničkim doživljajem i van njegovih zidova. Zato je muzej za umetnika ono što je za vernika crkva ili za naučnika priroda. Platforma neophodnog kontinuiteta MSU u Beogradu je otvoren 1965. godine, samo godinu dana pošto je u neposrednoj blizini izgrađena Zgrada Centralnog komiteta Saveza komunista Jugoslavije. Sasvim je očita politička odluka da se na istom prostoru pronađu objekti koji demonstriraju političku i kulturnu određenost tadašnjeg socijalističkog društva. Posle demokratskih promena 2000. godine, dobili smo MSU koji je zaglavljen u procesu rekonstrukcije, dok je Zgrada CK preimenovana u Poslovi centar Ušće, ali ponovo predstavlja reprezentativni objekat aktuelne politike samo što je to sada neoliberalni kapitalizam. MSUB je u socijalizmu bio mesto demonstracije ideologije ili odnosa prema njoj, dok bi u novim društveno političkim odnosima trebalo da prikazuje dominantnu robnu prirodu umetničkog dela; koja kao i svaka druga roba u kapitalizmu, služi isključivo potrošnji. Međutim društva „mladih“ demokratija nemaju snage da razviju sopstveno umetničko tržište, pa ni da normalno održavaju sopstveni muzej. Muzej niti predstavlja elitni šopingmol umetnosti, niti nadalje može da stvori uslove za razvoj umetnosti sa kritičkim stavom prema takvom društvu. Najvažniji aspekt projekta Nova kolekcija je omogućavanje osećaja kontinuiteta koji je neophodan u razvoju svake nove umetnosti. Ako je MSU pre svega misaoni i društveno prihvaćeni konstrukt i ako se umetnici i kustosi okupe u društvo, oni mogu ponovo i uvek iznova konstruisati muzej savremene umetnosti kao i bilo koji drugi deo umetničkog sistema, bez obzira na sve političke ili ekonomske prepreke koje su pred njima.

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art, MCA presents a throne; not because every artist wishes that their would should end up there, but because Museums create an illusion of artistic magic in which something as irrational as contemporary art practice makes sense. Ever since art deviated from the simple concept of mimicry reality, position of the Museum has grown stronger to the point of being indispensable. Museum is actually a source for the referential system of art and enables defining of the artistic in everyday life, or more importantly, it gives models for reading into reality wrapped in an artistic experience transcending its walls. This is why Museum represents for an artist the same a church represents for a believer or nature represents for a scientist. Platform of necessary continuity MCAB opened up in 1965, only a year after the nearby building of Central Committee of the Federation of Yugoslav Communists. Political decision to place two buildings depicting political and cultural affiliations makes perfect sense. After democratic changes in 2000, MCAB got stuck in the process of reconstruction, while the Central Committee building got renamed into Business Centre Ušće, yet still represents the object of present-day politics – neoliberal capitalism. MCAB was a place for ideology demonstration and attitude towards it back in the time of socialism, while in the current political relationships it ought to depict market value of artworks; much like any product in capitalism, aimed at consuming. However, societies with ‘young’ democracies do not have enough power to develop their own market, and therefore are unable to maintain their museums. Museum neither represents an elite shopping mall of art nor does it further create conditions for development of socially critical art. The most important aspect of the New collection project is that enables the sense of continuity which is much too necessary for development of new types of art. If we argue that MCAB is primarily a contemplative place and socially accepted construct, and gather artists and curators in a community, they could together construct MCAB or any other part of art system, regardless of political or economic obstacles before them.

Projekat

Project

NOVA KOLEKCIJA

-----------------------------------------------------/Autor: Sandra Stojanović/

/Author: Sandra Stojanović/

U okviru nekoliko projektnih faza, oko 120 studenata umetnosti imaće priliku da se upozna sa ulogom i značajem MSUB u umetničkom sistemu i saznaju više o radovima smeštenim u MSUB kroz radionice vršnjačke edukacije, koje su pripremile studentkinje istorije umetnosti nakon višemesečnog istraživanja uz podršku višeg saradnika Maje Ćirić. Nakon toga, uz pomoć mentora, studenti umetnosti će produkovati autorska dela pri čemu će za referencu imati uzeti neke od radova ili problematika vezanih za MSUB. Mentori na projektu su istaknuti umetnici i pedagozi: Miloš Tomić, Žolt Kovač, Radoš Atonijević, Olivera Parlić i Anica Vučetić. U završnoj fazi, ta produkovana dela biće izložena na više galerijskih i javnih lokacija u Beogradu tokom oktobra 2014. godine, a izložba će biti propraćena bogatim programom i publikacijom. Logika projekta je da se studenti izlože situaciji koja simulira realne (ili optimalne) uslove umetničke produkcije i afirmacije, sarađivaće sa drugim umetnicima i kustosima, te i aktivno preuzmeti ulogu (budućih) nosilaca umetničke scene. Javnost će, kroz završnu izložbu i propratni program, biti uključena u problematiku i podstaknuta na razvijanje odnosa prema savremenom stvaralaštvu.

As part of a few project phases, around 120 art students will be given an opportunity to get acquainted with role and importance of MCAB in the art system, and find out more about artworks in MCAB collections through peer-to-peer education workshops, prepared by students of history of art along with senior associate Maja Ćirić. After that, supported by mentors, art students will produce works whereby referring to some of the works or phenomena related to MCAB. Mentors on the project are renowned artists and professors: Miloš Tomić, Žolt Kovač, Radoš Atonijević, Olivera Parlić and Anica Vučetić. In the final phase, the produced artwork will be exhibited at several gallery and public spaces in Belgrade, in October 2014. The Exhibition will feature rich programme and publication. The logic behind New collection project is to expose students to realistic (or optimal) conditions of art production and affirmation; for them to cooperate with other artists and curators, and to actively engage as art professionals. Through group exhibition and programme, the public will be involved in the issue and encouraged to take a stand on contemporary art production.

S tim u vidu, Nova kolekcija je suštinski projekat osnaživanja studenata umetnosti i istorije umetnosti da preuzmu odgovornost za svoje obrazovanje i budućnost.

With this in mind, New collection is essentially a project aimed at empowering students to take charge of their education and future.

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/TreÄ&#x2021;i Beograd o sopstvenoj umetniÄ?koj poziciji - Razgovor/ mart 2014. /Third Belgrade on their artistic position - Conversation/ March 2014 162

Članovi Members

Anica Vučetić anica_vuc@yahoo.com Olivera Parlić parlico@sezampro.rs Radoš Antonijević radosantonijevic@gmail.com Ranko Đanković ranko.djankovic@gmail.com Sanja Latinović rem_faza@yahoo.com Marina Marković mina.maki@yahoo.com Sandra Stojanović stojanovic.s.sandra@gmail.com Veljko Pavlović trianglespiral@gmail.com Selman Trtovac selmantrtovac@gmail.com Aktivni član grupe do 26. oktobra 2013. Active member until October 26, 2013.

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IMPRESSUM Izdavač / Publisher: NUA Treći Beograd www.trecibeograd.com Za izdavača / For publisher: Urednik / Editor: Sandra Stojanović Tekstovi / Texts: Radoš Antonijević Bojana Atlija Lori Baldwin Ana Banduka Julia Blawert diSTRUKTURA Ksenija Jovišević Ursula Keller Stevan Kojić Tamara Laketić Sunčica Lambić-Fenjčev Čedomila Marinković Željka Momirov Olivera Parlić Jovana Popić Marica Radojčić Aleksandar Rafajlović Yann Ricordel Andrea Schlemmer Sandra Stojanović Predrag Terzić Selman Trtovac Stevan Vuković Fotografije / Photos: Sandra Stojanović , Veljko Pavlović, Selman Trtovac, Olivera Parlić, Marina Marković / Treći Beograd Nina Todorović Nebojša Vasić Bristol Diving School Milan Bosnić, Milica Milićević / diSTRUKTURA Vuk Ninković Jovana Popić Lori Baldwin Valentina Brković Marlene Hausegger Magali Sanheira Svetlana Volic Konstantin Novaković Prevod na englski / Translation in English: Sandra Stojanović Likovni urednik / Design&layout: Nina Todorović Štampa / Printing: Standard 2 Tiraž / Circulation:

500

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Sponzori / Sponsors: GOETHE INSTITUT Dom omladine Gradski sekretarijat za kulturu

CIP - Каталогизација у публикацији Народна библиотека Србије, Београд 7:061.2(497.11)”2013” 7.038.53(497.11)”2013” TREĆI Beograd : aktivnosti i definisanje Trećeg Beograda = Third Belgrade : Third Belgrade’s activities and definition : 2013 / [tekstovi, texts Radoš Antonijević ... [et al.] ; fotografije, photos Sandra Stojanović ... [et al.] ; prevod na engleski, translation in English Sandra Stojanović]. Beograd : Nezavisna umetnička asocijacija Treći Beograd, 2014 (Beograd : Standard 2). - 164 str. : ilustr. ; 24 cm. - (Edicija 3BGD ; knj. 3) Uporedo srp. tekst i engl. prevod. - Tekst štampan dvostubačno. - Tiraž 500. ISBN 978-86-915315-4-6 1. Уп. ств. насл. 2. Антонијевић, Радош [аутор] a) Независна уметничка асоцијација Трећи Београд (Београд) - 2013 COBISS.SR-ID 206299916