DA
DO
Galerija Atelje
2002–2012
NARODNI MUZEJ CRNE GORE
ATELJE DADO
Cetinje, April 2012.
Izdavač | Publisher
Narodni muzej Crne Gore
Za izdavača | For the publisher
Pavle Pejović
Urednik | Editor
Mirjana Dabović Pejović
Uvodni tekstovi | Introductory texts
Petar Ćuković
Mirjana Dabović Pejović
Prevodioci | Interpreters
Olivera Kusovac
Jelena Stanovnik
Srđan Vujica
Goran i Myra Poznanović
Fotografija | Photo
Lazar Pejović
Dizajn i priprema | Design and Preprees
Branka Vujović
Štampa | Print
DPC-Podgorica Grafotisak
Tiraž | Circulation
500
Sadržaj | Contents
Petar Ćuković
4-7 Atelje DADO – sjećanje na početke | DADO Atelier – Memories of the Beginnings
Mirjana Dabović Pejović
8-10 Atelje DADO – prvih deset godina | DADO Atelier – The First Ten Years
11-20 2002.
21-28 2003.
29-38 2004.
39-64 2005.
65-80 2006.
81-96 2007.
97-118 2008.
119-148 2009.
149-176 2010.
177-205 2011.
206-216 Biografije | Biographies
PETAR ĆUKOVIĆ
Atelje DADO – sjećanje na početke
Skupština opštine Cetinje donijela je 1988. godine
odluku da se objekat poznat kao Kuća Matanovića uredi
kao atelje i dodijeli na korišćenje Dadu Đurići. Odluka
je bez sumnje bila potpuno opravdana i svakako je bila
motivisana kako težnjom da se Dadov rodni grad na
neki način oduži jednom od svojih slavnih sinova, tako i
željom da se, preko ateljea koji bi mu bio na raspolaganju,
sam Dado možda dodatno motiviše da na Cetinju i češće
boravi. Dug je, reklo bi se, bar donekle, i bio ispunjen, ali
razumljiva želja da umjetnik češće boravi u svome gradu,
nije. Svako ko je bolje poznavao Dada znao je da ga
ovozemaljska dobra, ateljeski komfor i slične stvari nijesu
mnogo zanimale - niti su ga mogle promijeniti, niti pak
uticati na promjenu sopstvenih unutrašnjih umjetničkih
itinerera, uglavnom povezanih sa odabranim fizičkim
samotnjaštvom i mirom Eruvala u Francuskoj. Atelje na
Cetinju, bez odgovarajuće infrastrukture, posebno bez
riješenog sistema zagrijavanja brzo je propadao. Umjetnik
je u njemu zapravo izveo samo jednu, doduše hvale
vrijednu akciju: u sklopu Prvog cetinjskog bijenala, 1991,
napravio je, prema sopstvenim riječima „antimuzej“,
neku vrstu ambijentalne instalacije, posvećene Danilu
Kišu. I ta instalacija kao da je dijelila sudbinu samog
ateljea, vremenom je skoro sasvim propala – tek neki
njeni djelovi su kasnije, krajem 2002, iskorišćeni za
stalnu postavku Dadovih radova u sklopu Umjetničkog muzeja u Narodnom muzeju Crne Gore. Ni Milija
Pavićević, kojemu je Dado dao ključeve od ateljea da
ga koristi, nije sa njim imao mnogo „sreće“: u vrijeme
kada ga je koristio, radio je svoje „geometrijske“ radove,
od kojih su neki, usljed surovih uslova u ateljeu (strašna
cetinjska vlaga i zima) sasvim propali.
Atelje je, u svakom slučaju, bio zreo za sanaciju. Kako
su oko 2000. godine u Narodnom muzeju bili u toku
veliki radovi na izgradnji i obnovi njegove infrastrukture,
pomislio sam da bi obnovljeni Dadov atelje na neki način
mogao postati dio sistema Narodnog muzeja.
DADO Atelier – Memories of the Beginnings
In 1988, the Local Assembly of Cetinje made a
decision for the building referred to as the Matanović
House to be converted into an atelier and given to Dado
Đurić to use it. Driven both by the wish for Dado’s native
town to repay its debt to one of its renown persons,
and the wish to motivate Dado to spend more time in
Cetinje, the decision was undoubtedly entirely justified.
The debt, we may say, was repaid at least to some extent,
but the natural desire to see more of the artist in his
own town was not fulfilled. Whoever really knew Dado
was aware that worldly goods, the comfort of an atelier
and the like, did not arouse great interest in the artist
– nor could they change him or influence the change
of his own inner art itinerary, mostly linked to the
self-imposed physical isolation and the tranquillity of
Herouval, France. Lacking the suitable infrastructure,
especially the heating system, the atelier was rapidly
falling into disrepair. In fact, in it, the artist performed
only one action, a praiseworthy one though: within the
First Cetinje Biennial, in 1991 he created what he called
an “anti-museum”, a kind of ambiental installation,
dedicated to Danilo Kiš. This installation, too, seemed to
share the fate of the atelier itself, falling gradually into utter
disrepair: it is only some parts of it that later, towards the
end of 2002, were used for a permanent display of Dado’s
works in the Art Museum of the National Museum of
Montenegro. Milija Pavićević, who Dado had given the
permission to use the atelier, did not have much “luck”
with it either: while using the atelier, Milija created his
“geometrical” works, some of which dilapidated due to
the harsh conditions in the atelier (extreme moisture and
cold typical of Cetinje).
The Atelier was undoubtedly ripe for reconstruction. Since somewhere around 2000 the construction
and renovation of the infrastructure in the National
Museum were under way, it occurred to me that the
renovated Dado Atelier could become part of the
National Museum. It seemed to me that the arguments
Činilo mi se da su argumenti za takvu ideju bili
zapravo „neoborivi“: kao veliki sistem, matična muzejska
ustanova u zemlji, Narodni muzej je po prirodi stvari
„spora“ institucija, koja se bavi temeljnim muzejskim
istorizacijama, a ova njegova nova radna jedinica mogla
bi da mu, svojim aktivnostima, bar djelimice donese,
u najboljem smislu riječi, nedostajuću „brzinu“. Ideja
je podrazumijevala i izvjesnu korekciju namjene: atelje
više ne bi formalno bio Dadov atelje, već atelje koji nosi
njegovo ime. Računao sam da to ne bi trebalo da bude
sporno ni za koga, a prije svega ne za samog Dada. I u
pragmatičnom smislu, iako on u ovakvim slučajevima
ne mora da bude najvažniji, ideja je bila više nego
opravdana: naime, kad god bi boravio u Crnoj Gori,
odnosno na Cetinju, Dado bi, normalno, i sam mogao
da koristi atelje, kao da se u statusnom smislu ništa
nije ni promijenilo. Sa druge strane, rekonstruisani
atelje, zamišljen kao kombinacija modernog studija i
galerije, sa uređenim, veoma uslovnim apartrmanom,
u kojem bi prevashodno umjetnici mogli da borave,
po poznatom sistemu artist in residence, (a po potrebi
i svi drugi gosti Narodnog muzeja), omogućio bi
dinamične kulturne aktivnosti tokom cijele godine.
Ove bi aktivnosti prije svega bile usmjerene prema
tematizacijama, sagledavanju i afirmisanju kritičkih
umjetničkih i drugih socio-kulturnih praksa, što bi
posebno trebalo da bude upućeno mlađoj umjetničkokulturnoj zajednici. Na taj bi način i simbolika imena
nove institucije, bila zaokružena: „Atelje Dado“ zapravo
bi trebalo da slijedi najbolju tradiciju onoga od kojega
je i pozajmio ime – s onu stranu svake lagodnosti,
daleko od svakog oportunizma, uprkos trnju, uvijek ići
za vlastitom zvijezdom!
Za ovu ideju, odmah sam dobio podršku ondašnjeg
premijera Mila Đukanovića, budući da je Vlada trebalo
da finansira rekonstrukciju ateljea, potom i saglasnost
gradonačelnika Cetinja Milovana Jankovića.
for such an idea were in fact “irrefutable”: as a large
system, central museum institution in the country,
the National Museum is by nature a “slow” institution
dealing with fundamental museum historicizing, and
this new unit with its activities might, at least to some
extent, enhance the lacking “speed” in the best sense of
the word. The idea implied shifting the function of the
atelier: it would no longer be the artist’s atelier but an
atelier bearing his name. I held that this was not to be a
problem for anyone, Dado in the first place. In practical
terms, even though in cases like this he did not have to
be the major issue, the idea was more than justified: in
fact, during his visits to Montenegro and Cetinje, Dado
was to be allowed to use the atelier as if its status had
remained the same. On the other hand, designed as a
combination of a modern studio and a gallery, with a nice
and very comfortable apartment where artists could stay
on the well-known artist in residence principle (including
other guests of the National Museum as needed), the
reconstructed atelier would enable dynamic cultural
activities throughout the year. These activities would
primarily be focused on thematization, presentation and
affirmation of critical art and other cultural practices,
which was supposed to target younger art and cultural
community. This was to reinforce the symbolic name of
the institution, too: “Dado Atelier” was to follow the best
tradition of the artist who it was named after – defying
comfort and opportunism, to go for one’s own star, despite
the thorny path!
My idea met with immediate approval by the Prime
Minister, Milo Đukanović, as the atelier was to be financed
by the Government; also, the approval of the Mayor of
Cetinje, Milovan Janković, ensued soon. Understandably,
the main “agreement” was to be made with Dado himself.
I travelled to Herouval to visit him, in order to present my
arguments. No sooner had I started to “lament” over the
decrepit atelier than he, ignorant of my ultimate motive,
interrupted me saying: “I’ll do it!” He uttered these
Glavni „dogovor“, razumije se, valjalo je postići sa
Dadom. Otputovao sam kod njega u Eruval sa namjerom
da mu izložim svoje argumente. Tek što sam počeo da
„jadikujem“ nad ruiniranim ateljeom, ne znajući za moje
krajnje motive, prekinuo me je upadicom: „urediću ja
to!“. Izgovorio je to s karakterističnom brzinom, lakoćom
i odsječnošću, što je pomalo ličilo na dijete koje se
„pravda“, ali, poznajući Dada, mnogo više na želju da se
stvar koja se tiče pragmatičnoga uma brzo stavi „ad acta“.
U svakom slučaju, nije bilo sumnje da zapravo ni sam
nije vjerovao, a i zašto bi, u sopstvene riječi. Nastavio
sam, što sam bolje mogao, sa svojim argumentima u
prilog nove artikulacije ateljea. Na kraju se složio. Ili
nije imao kud – nekoliko godina kasnije, kad je „Atelje
Dado“ za sobom već imao izuzetno značajnu aktivnost
i s pravom stečenu reputaciju, Pavle Pejović, aktuelni
direktor Narodnog muzeja ispričao mi je kako se Dado,
u nekom tad vođenom razgovoru sa njim, vajkao da
sam ga nekako „zbrzio“ u vezi sa ateljeom, te kako je
on imao namjeru da tu napravi „antimuzej“. Naravno,
razumio sam, i znao sam, da Dado ovo nije izgovorio
kao prijekor, smisao ovih njegovih riječi bio je zapravo
isti kao i kada mi je rekao da će da „uredi“ atelje –s onu
stranu svakog pragmatizma.
Dobijanjem Dadove usmene saglasnosti konačno
je bio otvoren prostor da se realizuje ideja o uređenju
i transformaciji Dadovog ateljea u „Atelje Dado“, kao
instituciju u sklopu Narodnog muzeja Crne Gore. Sa
arhitektom Predragom Spasićem, čovjekom sa kojim
sam imao izvrsnu saradnju i u vezi sa mnogim drugim
projektima u Narodnom muzeju, lako sam i brzo došao
do saglasja „što nam je činiti“. Njegov projekat sanacije,
kao i artikulacija izložbeno-radnog prostora bio je
zaista sjajan. Sa razumljivo visokom simbolikom „Atelje“
je otvoren izložbom, u javnosti, ne samo široj, nego i onoj
užoj, stručnoj, skoro nepoznatih ranih radova Dada Đurića. Iznad lučnog unutrašnjeg prolaza prema dijelu ateljea
sa nižim stropom, na visokom zidu, koji predstavlja
granicu apartmanskog dijela ateljea prema izložbeno-
words swiftly, lightly and briskly, slightly resembling a
child “making excuses”, but, knowing Dado, much more
expressing a wish to put the issue of the pragmatic mind
in the archives. Anyway, there was absolutely no doubt
that he himself did not, and why would he, believe in
his own words. I continued, as well as I could, with the
arguments in favour of the new purpose of the atelier.
Eventually, he agreed. Or he did not have a choice – a
few years later, when “Dado Atelier” had already made
a name for itself with a series of noteworthy activities,
Pavle Pejović, the current director of the National
Museum told me how Dado complained that I had
somehow “rushed” him with the atelier and that he had
intended to make an “anti-museum” here. I understood,
of course, knowing that this had not been meant as a
reproach; the meaning of his words was actually the
same as it had been when he had said that he would “do
it” – beyond pragmatism.
Dado’s oral consent finally opened space for the
transformation of Dado’s atelier into the “Dado Atelier”
as an institution within the National Museum of Montenegro. With Predrag Spasić, the architect who I had
cooperated extremely well in a large number of other
projects in the National Museum, I easily reached an
agreement as to “what was to be done”. His renovation
design and the concept of the exhibition and working
space were superb. With understandably high symbolism, the Dado Atelier was opened with an exhibition
of Dado’s early works, almost totally unknown not only
to the general public but to the professional audience,
too. Above the interior arched passage towards the
part of the atelier with a lower ceiling, on a high wall
representing the border between the apartment and
the exhibition and working space, we placed a banner
with a reproduction of a beautiful black and white
photograph: over a group of young men, members of
the esteemed School of Art in Herceg Novi, Dado being
among them too, flies an almost surreal “body” in the
swallow dive, the body of Dado himself, well-known for
radnom, postavili smo tada i baner sa reprodukovanom
predivnom crno-bijelom fotografijom: preko grupe mladića
u kupaćim gaćicama, polaznika znamenite Umjetničke škole u Herceg Novom, među kojima je i Dado Đurić, nadvija
se, bezmalo nadrealno „tijelo“ u letu, u stilu poznatom kao
„lasta“, tijelo istog Dada Đurića, inače poznatog po izvrsnim
skokovima u vodu. Divotu i simboliku ove fotografije
dugujemo, kakve li sreće, zapravo grešci – dvostrukom
eksponiranju jednog te istog kvadrata fotografskog filma!
Dado je doista i „nad-visio“ i „nad-letio“ sve, ne samo svoju
, nego i mnoge generacije, i ovaj „nad-let“, koji je na neki
način u prostoru samog ateljea doživio i fizičko ponavljanje,
jer se let Dadove figure i bukvalno odvijao nad glavama
posjetilaca, nad prostorom radnog dijela ateljea, nad
„ponorom“ lučnog prolaza, trebalo je da simbolički „zaštiti“
i da sugeriše temeljnu strategiju tek otvorene institucije:
„nad-lijetati“ svakodnevicu, „nad-lijetati“ oubičajeni smisao,
„nad-lijetati“ siromašne, prizemne apstrakcije, „nad-lijetati“
provincijalnu zatvorenost i samodovoljnost, „po-letjeti“ ka
nemiru i bezdanu kritičke refleksije...
I danas, „Atelje Dado“ jeste jedinstvena institucija u
našoj zemlji – po potencijalu koji nudi, a i po programima koji su u njemu do sada organizovani. Mnogi
umjetnici, koji su u njemu boravili, ili imali izložbe, kako
oni iz naše zemlje, tako i oni iz inostranstva, ostavili su
značajan trag u kulturnom životu Cetinja i Crne Gore,
ali i veliki broj svojih radova Narodnom muzeju... I sve
dok sjenka velikog imena bude „nad-lijetala“ radne
aktivnosti „Ateljea Dado“ možemo biti sigurni kako ono
Dadovo vajkanje o tome kako sam ga „zbrzio“ u vezi sa
transformacijom njegovog ateljea ostaje tek jedna lijepa
anegdota o neponovljivom ljudskom karakteru velikog
majstora.
his superb diving skills. We were fortunate enough to
owe the beauty and symbolism of this photo to an error
– double exposure of the same piece of film! Indeed,
Dado outflew them all, rising above not only his own
but many other generations; this “rise”, which was in a
way physically experienced in the atelier itself as Dado’s
figure literally rose over the heads of the visitors, over
the working space of the atelier, over the “abyss” of the
arched passage, was supposed to symbolically “protect”
and herald the fundamental strategy of the newly
opened institution: to “rise over” the daily routine
and ordinary sense, “rise over” the poor, down-to-earth
abstractions, “rise over” the provincial isolation and selfsufficiency, and “fly” towards restlessness and the abyss
of critical reflection...
Today, the Dado Atelier is a unique institution in
our country – both by the potential it offers and by the
programmes organized by it so far. A large number of
national and international artists who have stayed or
exhibited in it, have left a lasting imprint on the cultural
life of Cetinje and Montenegro, but also a large number
of works to the National Museum... And as long as the
shadow of the big name “rises over” the activities of the
Dado Atelier, we can be certain that Dado’s complaint
about how I had “rushed” him with the conversion of
his atelier will remain only a nice anecdote about the
unique human character of a great master.
Prevod Olivera Kusovac
MIRJANA DABOVIĆ PEJOVIĆ
Atelje DADO – prvih deset godina
Galerija Atelje DADO nazvana po nekadašnjem
ateljeu našeg čuvenog umjetnika Miodraga Dada
Đurića, u osnovnom programskom konceptu preuzela
je nešto od onoga što karakteriše njegova djela–potrebu
za istraživanjem, povezivanjem različitih jezika i izraza,
provokaciju, kritički odnos prema svijetu i umjetnosti...
Od osnivanja do danas galerija je izgradila prepoznatljiv
imidž savremenog, otvorenog prostora sa jasno profilisanim programom bliskom konceptu koji se praktikuje u
internacionalnoj izlagačkoj praksi savremene umjetnosti,
uprkos relativno malim organizacionim i produkconim
kapacitetima. Dominantno usmjerenje ka prezentiranju savremenih umjetničkih izraza – (video) instalacija,
videa, performansa, fotografije etabliralo je Galeriju
kao najistaknutijeg promotera savremene umjetnosti u
Crnoj Gori.
Orijentacijom ka internacionalno afirmisanim autorima, ostvaren je respektabilan nivo u pogledu kvaliteta
programa, što je učinilo regionalno poznatom, tako da je
izlaganje u njoj postala relevantna referenca.
Izložbe predstavljaju glavni vid aktivnosti, dok
prateći programi obuhvataju razgovore sa umjetnicima,
teoretičarima, projekcije filmova/videa, umjetničke
akcije, radionice... Po dinamici aktivnosti Atelje predstavlja najživlji prostor Narodnog muzeja, gdje se izložbe
smjenjuju svakih par nedjelja tokom trajanja izlagačke
sezone - od marta do decembra. Cjeloviti galerijski prostor
omogućava prilagođavanje potrebama svakog konkretnog
projekta. Program galerije formira se kroz godišnji konkurs
koji se redovno objavljuje na web strani 6 mjeseci unaprijed
kao i po pozivu. Program finalno utvrđuje Savjet kojeg čine
afirmisani stručnjaci iz zemlje i regiona.
Vremenom se rad galerije profilisao u nekoliko
pravaca tako da paralelno teku tri osnovna programska
segmenata. Pored glavnog programa - izložbi renomiranih
domaćih i stranih autora koji predstavljaju aktulne trendove
savremenog umjetičkog istraživanja, predstavljaju se i djela
DADO Atelier – The First Ten Years
The DADO Atelier gallery, named after the former
atelier of our renowned artist Miodrag Dado Đurić, in the
basic concept of its programme, has adopted some traits
characterizing the artist’s works – the need to explore, to
connect different languages and expressions, provocation,
critical attitude towards the world and art... From its
foundation to the present day, the gallery has developed
a recognizable image of a modern, open space with a
clearly defined programme close to the concept found in
the international practice of exhibiting contemporary art,
despite its relatively small organizational and production
capacity. Its predominant orientation towards the
presentation of contemporary art expressions – (video)
installations, videos, performances and photographs,
has established the gallery as the most prominent
promoter of contemporary art in Montenegro.
Orientation towards internationally recognized artists
has ensured a respectable level of quality, earning the
gallery regional renown and making exhibiting in it a
relevant reference.
Exhibitions represent the main form of activities,
while supplementary programmes include talks with
artists and theoreticians, film screenings and video
projections, art actions, workshops etc. Its dynamic
activities make the Atelier the liveliest space in the
National Museum, with different exhibitions organized
every few weeks during the exhibition season (March
–December). The gallery space makes it possible to
adjust to the needs of each individual project. The
gallery programme is developed through the annual
competition announced regularly on the webpage six
months in advance as well as through invitations. The
programme is defined by the Council comprised of
recognized national and regional experts.
In time, the work of the gallery has branched into several directions, with three basic programme segments
running concurrently.
mladih, talentovanih crnogorskih umjetnika, što je za mnoge od njih ujedno i prvo samostalno predstavljanje. Poseban
programski segment čine tematski koncipirane izložbe
kojima predstavljamo djelove muzejskih fondova koji se ne
nalaze u stalnim postavkama muzeja, čime se nadgrađuje
djelatnost drugih segmenata NMCG, kroz slobodnije
koncipirane i često nekonvecinalne prezentacije. Može
se reći da aktivnosti galerije značajno doprinose i opštoj
kulturnoj klimi u prestonici, čime se omogućava živa veza
sa savremenim umjetničkim trendovima za studente triju
fakulteta umjetnosti na Cetinju.
U pogledu integrisanja u primarne aktivnosti NMCG,
posebno Umjetničke galerije, Atelje DADO ima veoma
značajno mjesto. Izbor radova iz glavnog programa izložbi
mogao bi da bude dio postavke nekog muzeja savremene
umjetnosti, jer se izlagačka politika glavnog programa
zasniva na izboru elitnih autorskih projekata, koji ulaskom
u Atelje na neki način dobijaju privremeni muzejski
status. Kroz veći broj doniranih radova umjetnička galerija
NMCG je došla u posjed značajnog fonda djela respektabilnih autora kao što su Tomislav Peternek, Dmitrij Prigov,
Branimir Karanović, Raša Todosijević, David Eckard, Igor
Sekovski, Boris Šemov...
Razvojem aktivnosti galerije i povećanjem broja
programa (od početnih 3 2002. do 13 programa u 2010.
godini) galerija je razvila i saradnju sa brojnim institucijama u Crnoj Gori i regionu, tako da je broj partnerski
organizovanih programa sve veći. Sve veće ambicije su
posredno i finansiranje galerije stavile pred nove izazove.
Obzirom da se sredstva za projekte izdvajaju iz budžeta
NMCG, bez drugih izvora finansiranja, nerijetko je
naša produkcija ograničena na lokalne okvire ili u
najboljem slučaju na pozive umjetnika iz neposrednog
okruženja. Uprkos tome, odnos budžeta i ostvarenog
obima i kvaliteta programa je izuzetno povoljan što
zajedno sa ostvarenom reputacijom galerije kao jednog
od naistaknutijih promotera savremene umjetnosti,
In addition to the main programme – exhibitions
of esteemed national and foreign artists who represent
the current trends in contemporary artistic exploration,
the gallery also displays works of young and talented
Montenegrin artists, giving many a chance for their debut
solo exhibition. A special segment of the programme
is reserved for thematic exhibitions displaying parts
of museum collections which are not included in the
museum’s permanent exhibitions; this contributes to
the activity of other segments of the National Museum
of Montenegro through freely conceived and frequently
unconventional presentations. It may also be stated
that activities of the gallery significantly add to the
overall cultural climate in the old royal capital, enabling
a live connection with contemporary art trends for the
students of the three art faculties in Cetinje.
DADO Atelier occupies a very important place in the
integration into the primary activities of the National
Museum of Montenegro, especially the Art Gallery. A
selection of works from the main exhibition programme
could be part of a contemporary art museum since
the exhibition policy of the main programme is based
upon the selection of elite projects which, by entering
the Atelier, are in a way granted a temporary museum
status. Thanks to a large number of donations, the Art
Gallery of the National Museum of Montenegro has
collected numerous works by esteemed artists such as
Tomislav Peternek, Dmitrij Prigov, Branimir Karanović,
Raša Todosijević, David Eckard, Igor Sekovski, Boris
Šemov...
With the diversification of its activities and the increased frequency of programmes (from 3 in 2002 up to 13 in
2010), the gallery has developed collaboration with a large
number of national and regional institutions; as a result,
the number of collaborative programmes is rising.
poziva na obezbjeđivanje dodatnih sredstava i/ili izvora
finansiranja u predstojećem periodu.
Kroz kompleksan i pažljivo osmišljen koncept programa tokom ovih prvih deset godina galerija Atelje Dado
formirala je svoju stalnu publiku i uvećala broj posjetilaca,
koji je za pojedine izložbe dostizao i preko 700 posjetilaca
tokom trajanja jedne izložbe, što se za ovako malu sredinu
može smatrati velikim uspjehom. Kontinuiranim PR
aktivnostima, najviše usmjerenim na studentsku i učeničku populaciju, povećano je interesovanje javnosti
i medija za programe. Time je galerija dala doprinos
popularizaciji savremne umjetosti u Crnoj Gori i formiranju nove generacije publike koja će kontinuirano pratiti
i aktivno učestvovati u aktuelnim zbivanjima. Ovi rezultati
nas obavezuju na dodatni angažman u našoj misiji bar još
narednih deset godina...
The gallery’s increasing ambitions have indirectly
posed new challenges for the gallery’s finance. Given that
the financial means for the projects are allocated from the
budget of the National Museum of Montenegro, without
any other sources, not infrequently our production
is confined to the local environment or, at best, to the
invitation of artists from the immediate surroundings.
Despite everything, the ratio between the budget and the
scope and quality of the programmes is highly favourable,
which, together with the gallery’s reputation as one of the
most prominent promoters of contemporary art, invites
to the provision of additional funds and/or sources of
finance in the forthcoming period.
Through a complex and meticulously conceived
concept of its programmes in the first ten years, the Dado
Atelier has developed a steady audience and increased
the number of visitors, in some cases reaching the total
of over 700 visitors for the duration of an exhibition,
which in such a small place can be seen as great success.
Continual PR activities, targeting mostly the student and
school populations, have increased the interest of the
general public and the media in the programmes. Thus,
the gallery has made a contribution to the popularization
of contemporary art in Montenegro and the formation of
a new generation of audience who will continually follow
and actively participate in the ongoing events. These
achievements oblige us to further engage in our mission
for at least another ten years...
2002
MIODRAG ĐURIĆ DADO
JELENA TOMAŠEVIĆ
NENAD ŠOŠKIĆ
ROMAN ĐURANOVIĆ
April – May
MIODRAG ĐURIĆ DADO
Rani radovi | Early Works
Nema sumnje, cijeli niz postupaka u ranim Dadovim djelima evidentiran je u klasičnom modernističkom vokabularu.
Slika je, strateški govoreći, ograničena ravna (i radna) površina na kojoj su boje i forme raspoređene prema internim
zakonima slikarskog jezika, kojima je apsolutno podređen i predložak predstavljenog vidljivog svijeta: brdo, more, kuća,
drvo, ili nečije lice, jesu samo optička „tjela“ ili „površine“ koje se na radnoj podlozi kloazoniraju i slažu prema principima
posebne slikarske kartografije. Jezik Dadovih morskih pejzaža, gradskih prizora Herceg Novog, portreta neskriveno je
blizak iskustvu fovista i ekspresionista, ili neoprimitivista sa početka vijeka.
To je istovremeno tačka u kojoj se iznova možemo prisjetiti Đurićevog zapisa, koji zapravo reaktualizuje umjetnikovu
potrebu za izgovaranjem nevinih riječi, budući da su svi ovi pokreti na koje se naslanja Dadov umjetnički jezik nastajali
upravo u potrazi za svježinom prvoizgovorenih riječi
Undoubtedly, a whole array of procedures in Dado’s
early works have been recorded in the classic modernist
vocabulary. Strategically speaking, painting is a limited,
flat (work) surface on which colours and forms are
distributed according to the internal laws of the language
of painting which totally subordinate the template
of the represented visible world: the hill, the sea, a
house, a tree or a person’s face are but optical “bodies”
or “surfaces” arranged on the work surface according
to the principles of a special cartography of painting.
The language of Dado’s seascapes, urban scenes from
Herceg Novi and portraits is clearly close to the fauvist
and expressionist experience, or the experience of neoprimitivism from the beginning of the century. This is
at the same time a point at which we can again recall
Đurić’s recording, which in fact actualizes again the
artist’s need to pronounce innocent words, given that
all the movements that Dado’s artistic language relies
upon were born in the search for the freshness of the
first words uttered.
Petar Ćuković
◀Bez naziva, kombinovana tehnika, privatno vlasništvo
Untitled, mixed media, private collection
▶Autoportret, kombinovana tehnika, privatno vlasništvo
Self Portrait, mixed media, private collection
12
13
June – July
JELENA TOMAŠEVIĆ
Jedna figura vuče drugu ne izvan rama, izvan slikovnog
polja, već znači ekstenziju slike, njenu ekspanziju i na
drugu stranu, ona znači kretanje umjetnika, ona nalaže
kruženje posmatrača. Poput poznih Vermerovih radova,
uspostavljanje ekscentričnosti kompozicija lociranjem
samih figura na rubove slikovnog polja, decentriranjem
likova tako da ih okvir slike presijeca, već rasteže sliku,
razvlači je izvan njenih klasičnih granica, izvan ukroćenosti, srezanosti unutar, omeđenosti ramom; ram postaje
ne granica razdvajanja, granična linija, diobena zona, već
posrednička, prevezujuća komponenta. Nategnuti kanap
i ram, kanap nategnut preko rama, funkcionišu zajedno
kao instrumenti prenosa događaja, transfera napona, kao
pomagalo, proteza za uvezivanje dva dijela slike, njenog
ispred i iza, njenog naprijed i nazad koji postaju aletrnativne, reverzibilne, rotirajuće vrijednosti.
One figure pulls the other not outside the frame, outside the
field of the painting, but into an extension of the painting,
into its expansion in the other direction, designating the
artist’s gesture, and prompting the onlooker to go around the
painting. Just like the late Vermeer’s works, by establishing an
eccentric composition by positioning the figures at the edge of
the field of painting, decentralising the images in such a way
that they are cut by the frame, and streetching the painting,
and extending it outside its classical borders, outside the tame
zone and the restriction to the inside outlined by the frame,
the frame ceases to be the border of separation, a delineating
line, a dividing zone, and becomes a mediating interfacing
component. The tight string and the frame, and the string
tightened across the frame function together like instruments
conveying an event, transferring a voltage, as an aid, a tool for
bindinf two pieces of the painting together – its face and back,
its front and its obverse – that become alternative, reversible,
rotating values.
Svetlana Racanović
14
15
Bez naziva, kombinovana tehnika | Untitled, mixed media
July – August
NENAD ŠOŠKIĆ
Nenad Šoškić je pošao od raznorodnih književnih i filozofskih dela, prema
kojima je u izvornom susretu sa njima imao stav onoga koga autor „Zadovoljstvo
teksta“ naziva čitaocem: High fidelity, Gorski vijenac, Primeri čojstva i junaštva,
Mrtve duše, Majstor i Margarita i Kritika čistog uma. U ponovljenom susretu
sa tim delima on je uzeo da stvori devet palimpsesta, tako što je metodom
nanošenja slojeva „ispisivao“ ove književne i filozofske tekstove po platnima
jednakog formata. U ovom susretu, međutim on nije zauzimao stav čitaoca, ali
nikako nije mogao zauzeti ni stav barthesovskog čitača.
Ono što obeležava ovaj događaj PERIFRAFÉ kao slikanja jeste antinomijska
ideja postizanja GRAFÉ kao slike, sa koje je, razume se, po okončanu događaja
nemoguće razabrati ekfrazis kao književni tekst.
U ovu dijadu suprotnosti, uz to, ugrađena je i antinomija vremena, i to utoliko
što ono konačno grafé sadrži i linijsko vreme filozofski i književnih tekstova i
ciklično vreme slike kao palimpsesta.
Bez naziva, kombinovana tehnika | Untitled, mixed media
Nenad Šoškić started from diverse literary and philosophical works, towards
which, in his original encounter with them, he took an attitude of the one referred
to by the author of The Pleasure of the Text as the consumer.
These works include: High Fidelity, Mountain Wreath, The Examples of Humanity
and Bravery, Dead Souls, The Master and Margarita and The Critique of Pure
Reason. In a new encounter with these works, the author set out to create nine
palimpsests: using the technique of applying layers, he “wrote” these literary and
philosophical texts on canvases of the same size. In this encounter, however, he
did not take the attitude of the “consumer”, but he could by no way take the
attitude of Barthes’ reader either.
What marks this event of the PERIFRAFÉ as painting is the antinomic idea
of creating the GRAFÉ as a painting, in which, understandably, upon the
conclusion of the event, it is impossible to discern ekphrasis as a literary text.
This dyad of oppositions also includes an antinomy of time in that the final
grafé contains both the linear time of the philosophical and literary texts and
cyclic time of the painting as a palimpsest.
Zoran Gavrić
16
17
October
ROMAN ĐURANOVIĆ
Junaci Đuranovićevog univerzuma nisu potentne figure, ličnosti, već bezstrasni likovi, tipovi bez individualnosti,
entiteti ne i identiteti, humanoidi lišeni personaliteta. To su autizovane figure čije mirovanje nije pauza u akciji, nije
poziranje kao vještina režiranja i svjesnog eksponiranja statusa ili stava, nije trendovsko to be cool kao insinuacija
bezbrižnosti, kao simulacija „niskog intenziteta“. To je čekanje bez motiva i bez cilja, neka zaustavljenost u anesteziji,
opuštenost ne kao relaksacija, kao akumuliranje snaga ili kao refleks/produkt finalizovanog dejstva, već manifestacija
atrofiranosti, simptom impotentnosti uma, oznaka tjelesne pasivnosti replikanta današnjice čija se opšta nemoć
kamuflira inteligentno i perfidno da bude viđena, ustvari, eksponira ciljanim strategijama prikrivanja identiteta
modernim stajlingom, ambalažiranja u globalni (letargic) look.
The heroes of Đuranović’s universe are not potent figures, personalities, but passion-free characters with no individuality,
entities but not identities, humanoids deprived of personality. They are autistic figures whose steadiness is not interruption
of activity. It is not posing in terms of skilfull direction and conscious exposure of status or attitude. It is not a trendy
to-be-cool façade, an insinuation of lightheartedness, a simulation of happiness of “low intensity“. This is rather waiting
without motive or aim, a kind of anesthetic hiatus, a casualness unlike relaxation or a period of strenght accumulation, a
reflex/product of finalized activity. Instead it is but a manifestation of an atrophied state, a symptom of an impotent mind,
a mark of bodily passiveness of replication of the present in which overall powerlesness is intelligently and perfidiously
camouflaged in order to be seen. This incapacity is actually exposed by controlled strategies of hiding identity through
modern styling, by packaging it in a global (languid) look.
Svetlana Racanović
18
19
Foto | Photo: Vojo Radonjić
RAZGOVOR O IV CETINJSKOM BIJENALU
DISSCUSION ABOUT CETINJE BIENNIAL IV
Svetlana Racanović
jedan od selektora izložbi | one of the exhibition selectors
Ljiljana Zeković
generalni supervisor izložbi | general supervisor of the exhibition
Petar Ćuković, član žirija | member of the jury
Predsjednik Bijenala | President of the Biennial
Nikola Petrović Njegoš
Selektori | Selectors:
Andrei Erofeev
Iara Boubnova
Katerina Koskina
Svetlana Racanović
Izložbe | Exhibitions:
Skulptura za stanovanje | Housing Sculpture
Razgovor sa čovjekom na ulici | Speaking to the Man on the Street
Ultimum Projektum
PREDAVANJE O IZLOŽBI BIJENALE MLADIH U VRŠCU
PRESENTATION OF THE EXHIBITION OF YOUTH ART
BIENNIAL VRŠAC
Jovan Čekić
umjetnički direktor bijenala | art director of the Biennial
Izložba pod nazivom Kodovi vremena - zauvek mladi, je bila koncipirana sa idejom da se Bijenale mladih u Vršcu internacionalno pozicionira u regionu. “Sama izloža je bila zamišljena kao montaža radova
veoma mladih umetnika, ali i onih koji su ostali zauvek mladi”.
This exhibition under the title Codes of Time-Forever Young
was conceived with the idea that the Biennial of Youth in Vršac becomes internationally pozitioned in the region. “The exhibition was
conceived as assembly of works of very young artists, but also of those
who have stayed forever young”.
PREDAVANJE JANKA LJUMOVIĆA “Umjetnost i mediji-teorijski
i praktični diskursi” | Lectury of Janko Ljumović “Art and Media
Theorical and practical discourses”.
2003
FONDACIJA MM ART
OLIVER MUSOVIĆ
June
IZLOŽBA PLAKATA I PREZENTACIJA PROJEKATA FONDACIJE MM ART
EXHIBITION OF POSTERS AND PRESENTATION OF PROJECTS OF MM ART FOUNDATION
Slobodan Milatović, direktor fondacije | director of the foundation
Janko Ljumović, producent | producer
Svetlana Racanović, istoričarka umjetnosti | art historian
Ana Matić, dizajnerka | graphic designer
Jelena Stanovnik, sekretarka fondacije | secretary of the foundation
MM Art fondacija je osnovana 2000. godine i tokom nekoliko godina postojanja realizovala je preko 50 projekata
iz oblasti kulture, među kojima su: Otomobilski pohod na Crnu Goru, Kulturna animacija i revitalizacija Skadarskog jezera, 10 aksioma evropske kulture. Fondacija je pokrenula i časopis Montenegro Mobil Art koji se pored
aktuelnih dešavanja iz kulture bavio temama iz oblasti turizma i ekologije. Uprkos uspjehu koji je postigao ugašen
je zbog finansijskih razloga.
MM Art foundation was established in the year 2000. and through several years of intense activities has realized
over 50 projects in the field of culture, among which are: Car March to Montenegro, Cultural Revitalization and
animation of Skadar Lake, 10 Axioms of European Culture. Foundation has also initiated magazine Montenegro
Mobil Art that was, beside actual cultural, engaged in promotion of tourism and ecology. Despite its success it was
shut down due to financial reasons.
August
OLIVER MUSOVIĆ
Susjedi | Neighbours
Izložba i prezentacija | Exhibition and presentation
Ono što je impresivno u radu Olivera Musovića jeste uporna, gotovo opsesivna pažnja koju on posvećuje svom
neposrednom okruženju, bilo da su to ljudi, fizički objekti i situacije ili mikro-socijalne strukture. Musović kao
da je svjestan solidne i nedvojbeno realne supstance svog okruženja kao nečega što mu daje definiciju ali što je u
isto vrijeme lišeno radosti i zadovoljstva transparentnosti za pogled spolja. Čini se da on veoma snažno osjeća dio
svog identiteta koji definiše spoljnje okruženje, i to prije svega lokalna moć identifikacije. Ali u isto vrijeme snaga
okruženja daje umjetniku razloge da vjeruje da bi ono bilo nerazumljivo onima koji ne pripadaju tom lokalitetu.
Zato umjetnik mora da ukazuje, dokumentuje, objašnjava, dokazuje i vizuelno materijalizuje svaki detalj iz tog
okruženja u nadi da će oni postati transparentniji. Život gdje ga živi Oliver Musović veoma je homogene prirode.
Ipak, ta homogenost mora biti fragmentarna, secirana kako bi postala dinamičnija i komunikativnija.
Grupa susjeda je izgradila ovaj sjenik
od starih autobuskih sjedišta, drvenih
greda i cerade. To su najbolja sjedišta
u dvorištu i najčešće su zauzeta od
grupe pasioniranih šahista. Uveče se
tu susrijeću mladi i ostaju do kasno
u noć. Iako nije sigurno ostaviti bilo
šta u dvorištu, korpa za otpatke (u
prednjem planu) već je dugo vremena
tu i, za divno čudo, upotrebljava se!?
A group of neighbours made this
makeshift gazebo in our yard
from scrapped bus seats, wood
and waterproof tarp. Now these
are the best seats in the yard, most
often occupied by a group of very
passionate chess players. At night
this is the place where youngsters
meet for long chats deep into the
night. Although it is not safe to leave
anything outside, the small trash bin
(in the foreground) has been here for
quite some time and even more, it is
being used.
Susedi 2: Dvorište, detalj | Neighbours 2: The Yard, detail, 2002
24
25
The impressive thing about the work of Oliver Musovik is the persistent, even obsessive attention he is dedicating
to his immediate surroundings, be that as it may people, physical objects and situations or micro social structures.
It is as if he is aware of the solid and unquestionably real substance of his surroundings as something that is giving
him a definition but at the same time is robbing him of the joys and pleasures of being transparent to an outsider’s
gaze. It seems that he feels the part of his identity, which is defined by the outer surroundings, very strongly and
it is a rather local strenght of identification. But at the same time its strenght gives the artist reasons to think that
it would be incomprehensible to anybody who is not part of the same locality. So the artist needs to pinpoint,
document, explain, verify, and objectify in visual images every detail of these surroundings in the hope that they
will become more transparent. Life where Oliver Musovik lives is very homogenous affair.
However, its homogeneity needs
to be fragmented and desserted
so that it becomes more dynamic
and communicative.
Iara Boubnova
Prilozima cijelog susjedstva, na starom
igralištu bili su postavljeni novi
golovi. Ali, otkad imamo koš za ulični
basket, fudbalsko igralište je bukvalno
napušteno, i sve se više koristi kao
parking za autobuse, a golovi se samo
povremeno upotrebljavaju, kad se
tresu tepisi.
With contributions from all of us
from the neighbourhood the old
playground was renovated and new
goals were erected. But, since we got
the new street basketball court, and
basketball being much more popular
sport in my neighbourhood, the
soccer field is literally abandoned,
with the goal posts only occasionally
being used when beating carpets.
Susedi 2: Dvorište, detalj | Neighbours 2: The Yard, detail, 2002
September
U GUDURAMA BALKANA | IN THE GORGES OF BALKAN
Prezentacija | Presentation
Predstavljanje izložbe U gudurama Balkana, održane u Fridericianum muzeju u Kasselu,
na kojoj su učestvovali crnogorski umjetnici: Igor Rakčević, Natalija Vujošević, Jelena
Tomašević, Milija Pavićević i Lazar Pejović.
Presentation of the exhibition In the Gorges of Balkan, held in Fridericianum Museum in
Kassel, where Montenegrin artists: Igor Rakčević, Natalija Vujošević, Jelena Tomašević,
Milija Pavićević i Lazar Pejović have participated.
▶
Igor Rakčević
Jelena Tomašević
René Block
Petar Ćuković
Natalija Vujošević
Lazar Pejović
Igor Rakčević
Bez naziva | Untitled, 2002
26
27
Gosti | Guests:
Petar Ćuković, komesar crnogorske selekcije | curator of the Montenegrin selection
Jelena Tomašević, Igor Rakčević, Natalija Vujošević
Izložba “U Gudurama Balkana” održana u muzeju Fridericianum je u Kasselu, kao dio projekta Balkanska trilogija
(2003-2004). Komesar René Block sarađivao je sa 88 umjetnika i 12 kustosa (Edi Muka, Dunja Blažević, Iara
Boubnova, Katerina Gregos, Shkëlzen Maliqi, Nataša Ilić, Zoran Petrovski, Petar Ćuković, Ruxandra Balaci,
Branislav Dimitrijević, Nataša Peteršin, Erden Kosova) iz zemalja Balkana – Bosne i Hercegovine, Bugarske,
Grčke, Makedonije, Kosova, Turske, Srbije, Crne Gore, Rumunije i Albanije. Izložba je prvi dio projekta, dok
je drugi dio nazvan “U gradovima Balkana” koji podrazumijeva različite aktivnosti, seminare, panel diskusije u
nekoliko gradova. Treći dio nazvan “Iza Balkana” zatvara ciklus sa dva izuzetna događaja – jednim istorijskim a
drugim savremenim – izložbama Mangelosa i Marjetice Potrč.
Exhibition “In the Gorges of Balkans” was held in Fridericianum Musseum in Kassel, as part of the project Balkan
Trilogy (2003-2004). Comissioner René Block has collaborated with 88 artists and 12 curators (Edi Muka, Dunja
Blažević, Iara Boubnova, Katerina Gregos, Shkëlzen Maliqi, Nataša Ilić, Zoran Petrovski, Petar Ćuković, Ruxandra
Balaci, Branislav Dimitrijević, Nataša Peteršin, Erden Kosova) from Balkan countries - Bosnia Herzegovina,
Bulgaria, Greece, Macedonia, Kosovo, Turkey, Serbia, Montenegro, Romania and Albania. The exhibition was
first part of the project, while the second was called “In the Cities of Balkan” and has implied different activities,
seminars, pannel discussions in various cities. The third part was named “Beyond the Balkans” and has closed
the cycle with two extraordinary events – one from the historical and the other from contemporary positions –
exhibitions of Mangelos and Marjetica Potrč.
Jelena Tomašević
KUNST=KAPITAL
2002.
Presentation
RAZGOVOR O HERCEGNOVSKOM ZIMSKOM SALONU I
PREDSTAVLJANJE NAGRAĐENOG RADA NATAŠE ĐUROVIĆ
DISCUSSION ABOUT HERCEG NOVI WINTER SALON AND
PRESENTATION OF AWARDED WORK BY NATAŠA ĐUROVIĆ
Učesnici | Participants
Bogdan Musović, muzejski savjetnik
galerije | Museum Advisor of
Josip Bepo Benković Gallery
Ljiljana Zeković, selektorka izložbe
Selector of the Exhibition
Težnja uzvišenom, 2003.
instalacija (enkaustika i pozlata)
Striving towards Sublime
installation (encaustic, gilt)
Foto | Photo: Gordan Nikolić
PREZENTACIJA I RAZGOVOR O IZLOŽBI “CORPS À CORPS”
PRESENTATION AND DISCUSSION ON EXHIBITION “CORPS À CORPS”
Zlatko Glamočak, selektor izložbe | selector of the exhibition
Pavle Pejović, umjetnik | artist
Rajko Todorović, umjetnik | artist
Milena Palakarkina & Dado, Marie Christine Remmery, Rajko Todorović, Ernest
Pignon Ernest, Joel Peter Witkin, Félix de Recondo, Pierre Molinier, Philippe
Cognée, Zoran Mušič, Lydie Arickx, Antonio Saura, Agnès Baillon, Jean Rustin,
Pavle Pejović, David Nebreda, Germaine Richier, Stani Nitkowski, Jean Rouland,
Antoine Correia, Fabian Cerredo, Gérard Bignolais, Roger Edgar Gillet, Michel
Charpentier, Christelle Morvan, Zlatko Glamočak, Gregor Podgorski, Denis
Monfleur, Roseline Granet, Vladimir Veličković, José Subira Puig, Guy Ferrer,
Dany Leriche, Marc Petit, Dado
28
29
2004
BRANKO FILIPOVIĆ FILO
MILAN NIKČEVIĆ
VLADO MARTEK
SONJA ĐURANOVIĆ
January-February
BRANKO FILIPOVIĆ FILO
Radovi na papiru 1954 –1959 | Works on Paper 1954 –1959.
Bez naziva | Untitled, 1955.
Filo zaista polazi od Milunovića i kreće ka Lubardi, ali u odnosu na obojicu
nastoji da se što pre odvoji, osamostali, osavremeni, o čemu čini se da
najbolje svedoče upravo ovi radovi formalno začeti u Milunovićevoj klasi,
no pre bitno podstaknuti ne samo Lubardinim, nego i brojnim drugim
iskustvima tada aktuelne svetske umetnosti čije je tekovine nastojao da
saobrazi ondašnjim sopstvenim interesovanjima i sposobnostima. Nastali u
Beogradu, u umetnikovoj izloaciji i u okruženju umerenih modernističkih
shvatanja koja će tokom pedesetih u procesima obrata od socijalističkog
realizma ka socijalističkom estetizmu, ubrzo na lokalnoj umetničkoj sceni
zauzeti dominantno mesto, ovi radovi izlazeći izvan takve atmosfere, kao da
indirektno anticipiraju pre nego što direktno predvode klimu beogradskog
enformela, čije istorijski utvrđene hronološke početne tačke presudno
ne pomeraju, ali svakako da dopunjuju njihovu predistoriju. Ovi radovi
znak su pre svega Filove mladenačke radoznalosti, nekonvencionalnosti,
eksperimentatorske strasti, najave su mnogih prodora koji će se uskoro
dogoditi i kasnije do maksimuma razviti u njegovom tipičnom i zrelom
slikarstvu.
Filo did indeed move from Milunović towards Lubarda, but he also wanted
to move away from both as soon as possible, to become independent and
contemporary. Witness to this are the very works that were begun in
Milunović’s class, and inspired, not only by Lubarda, but by numerous
other experiences of the international art world which assimilated through
his own interests and abilities. They were created in Belgrade in isloation
and under the circumstances of moderate modernism which soon began
to dominate the local art scene as Socialist Realism underwent a transition
to socialist aesthetics in the mid-fifities. These works stepped out of the
prevailing atmosphere as if they indirectly anticipated, rather than led the
Belgrade Art Informel movement whose historical beginnings were not
changed by them but rather its prehistory supplemented. These works are
a testament to Filo’s youthful curiosity, unconventionality and passion for
experiment. They are harbingers of the many breakthroughs that were to
follow and fully develop in his mature paintings.
Bez naziva | Untitled, 1956.
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Ješa Denegri
Bez naziva | Untitled, 1954.
April – May
MILAN NIKČEVIĆ
Privatni dekorativni predmeti | Private decorative objects
Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum
Riječ je, doista, o strategiji makar je i outsiderska. O širokom zahvatu u polju razumijevanja svijeta. O baštinjenju
i integraciji mnogih znanja, iskustava i tajnih puteva
kulture. Tako, bez sumnje, Nikčević prepoznaje, dakako
i na osnovu vlastitih uvida u neka temeljna umjetnička
iskustva proteklog vijeka, kolažiranje i re-konstrukciju kao
ključne principe na kojima valja graditi metafore jednog
svijeta razgrađenih i pokidanih veza. Ali kolažiranje i rekonstrukcija nijesu ovdje samo namah vidljive osobine
fizičkog lika neobičnih „dekorativnih predmeta“, ovi
principi dosljedno su primijenjeni i u „literaturi“ koja prati svaki „predmet“ ponaosob, u materijalima sazdanim od
citata iz borhesovskih lavirinata, iz najrazličitijih knjiga,
rječnika, uputstava i priručnika na različitim jezicima.
Kao da se širinom zahvatanja fragmenata snuje san o
davno izgubljenoj harmoniji svijeta.
Who Are the Golden Frames Waiting For, 2001-2002
(The Last Supper); (Simposion); kombinovana tehnika | mixed media
Tulipa Tubravchiana Submontana I, 2003
(The Frames of Life); kombinovana tehnika | mixed media
And it is truly a strategy, even if that of an outsider. It is a
bold move into the subject of uderstanding the world. It
is the continuation and integration of the many forms of
knowledge end experience, and of the many secret paths,
to be found in culture. Doubtlessly on the basis of his
own insight into some of the basic artistic experiences
of the past century, Nikčević recognizes collage and reconstruction as the key principles on which to construct
metaphors for a world of disassembled and broken
connections. But collage and re-construction are not here
merely the immediately apparent characteristics of the
physical shape of the unusual “decorative objects“; these
principles are also consistently applied in the “literature“
accomapanying each individual object, in the readings
built out of quotations from Borgesian labyrinths, from a
bewildering array of books, encyclopedias, dictionaries,
instruction manuls and guides in various languages.
It is as if breadth of the expanse from which these
fragments were scooped up dreams the dream of the
long-lost harmony of the world.
Petar Ćuković
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The Self Portrait, 2001-2002
(There is No Head Suited to
the Frame); (Head and Shirt)
kombinovana tehnika
mixed media
May-August
KANCELARIJA V CETINJSKOG BIJENALA | OFFICE OF THE CETINJE BIENNIAL V
kustosi | curated by René Block & Nataša Ilić
Narodni muzej Crne Gore i Kunsthalle Fridericianum Kassel su bili partneri u realizovanju V Cetinjskog bijenala,
a Atelje je bio glavni punkt za okupljanje tima koji je radio na pripremama izložbi i umjetnika. Jedan od učesnika
Bijenala, Vlado Martek je za prostor Ateljea namjenski koncipirao izložbu koju je poklonio Narodnom muzeju.
National Museum of Montenegro and Kunsthale Fridericianum Kassel were partners in realization of Cetinje Biennial V, and Atelier was the main point for gathering of the team that was working on preparations of the exhibitions
and artists. One of the artist who participated the Biennial, Vlado Martek has conceived the exhibition for the Gallery of Atelier Dado, that he gave to the Museum.
René Block, u pozadini rad Mone Hatum, Over my Dead Body
in the background work of Mona Hatoum Over my Dead Body
Vlado Martek, Šekspir | Shakespeare, 2004
Vlado Martek
Šekspir | Shakespeare, 2004
Vlado Martek, Installation view
December
SONJA ĐURANOVIĆ
Umjetnica je po završetku izložbe poklonila rad Muzeju | After the exhibition closure the artist donated the work to the Museum
Kaleidoskopske tvorevine Sonje Đuranović počivaju na (gotovo) klasičnim
atributima slikarske umjetnosti, čiste do samopotvrđivanja: one su i vatrometna i
graciozna pojava – objava principa Ljepote; one su apsolutna radost oka, demonstracija
zanatske perfekcije, evidencija stvaranja iz umjetnikove „nenamje-rne posvećenosti“
skladu, uravnoteženosti kompozicije i bojenih odnosa.
One zrače dovršenošću, „dobropogođenošću“ koja ne podilazeći ničemu „ugađa“
osjećaju da smo svjedoci jednog prazničnog slavljenja intimnih trenutaka i mirnog
postojanja. Ove „rukotvorine“ nisu nastale iz jalove (ženske) dokolice, kao
umjetnost ukrasnog tipa, umjetnost – domaća radinost, kao „heklanje“ onog
zaludnog vremena što se ima „na pretek“.
Ove tvorevine kao da su nastale na kakvom slikarskom razboju kao fini
hedonistički vez, kovrdžavo tkanje stvarano iz lakoruke pedantnosti koja se
ne fokusira grčevito da gađa detalj, ne usmjerava na pojedinosti kao dovoljnu
bitnost niti je stvorena rastresenom pažnjom rasutom da klizi preko cijele
oslikane površine tako što rutinski vuče poteze i s ravnodušnošću ostavlja
tragove.
Bez naziva, ulje na platnu
Untitled, oil on canvas, 2002.
The kaleidoscopic creations of Sonja Đuranović are based on the (almost)
classical attributes of visual art, lucid to the point of self-exposure. As image,
they are both firework-like and graceful disclosures of the principle of Beauty.
They bring absolute joy to the eye, a demonstration of the perfection of artistry.
They offer evidence of creation from the artist’s unintentional commitment to
harmony, well-balanced composition and the relation of colours. They radiate
completeness, so well matched to our aesthetic needs that, without patronising,
they “gratify“ us with the feeling that we are witnessing a celebration of intimate
moments and tranquil existence.
These “handworks“ are far from the product of a futile female pastime, art
of decorative type, homemade manufacture like “crocheting“ to fill long, idle
hours. These pieces seem to have been created on some hybrid painting loom,
with the appearance of fine hedonist embroidery. The result is a crisply curled
cloth formed with light-handed literalism. This is not work painstakingly
focused on “cracking“ the detail, fixed on detail as the only purpose. Nor it is
a creation of vague attention scattered across the patterned surface that forms
according to routine and leaves indifferent traces.
Svetlana Racanović
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Presentation
WEB ART, Blažo Kovačević
Osnivač prvog festivala digitalne umjetnosti u Crnoj Gori. Prvo izdanje je
imalo za temu Kloniranje, dok je naslov
drugog festivala bio Simple Present
Tense.
Founder of the first digital art festival in Montenegro. Theme of the first
edition was Cloning, while the second edotion was entitled the Simple
Present Tense.
Predavanje | Lectury
Prof. Simonetta Lux, La Sapienza, Rim
TALENT FACTORY, Vladimir Perić, dizajner i umjetnik, jul | designer & artist
2D Globus, instalacija, 2005.
2D Globe, instalation
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Kap, fotografija, 2003.
The drop, photography
Isečak, instalacija
The Cat out, instalation
2005
JOVAN MRVALJEVIĆ
VOJO RADONJIĆ
RATKO ODALOVIĆ
DAMIR NIKŠIĆ
SLOBODOAN ŠIJAN
PETAR LUBARDA
MAŠA ŠUBINA
RAŠA TODOSIJEVIĆ
JEAN BERNARD SOUDERES
January – February
JOVAN MRVALJEVIĆ
Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum
Oslikani reljefi ili „reljefne slike“ Jovana Mrvaljevića jesu jedna zgusnuta dinamika i visokofrekventna pulsacija
različitosti, arhetipskih formi, kodifikovanih znakova i privatnih simbola masprodukta današnjice, medijskih slika,
subkulturnih fenomena i ličnih fascinacija. To je jedna gusta zbijenost, pomiješanost do nerazaznatljivosti gdje su
pretapanja, srastanja, kalemljenja i moć hibridnog postojanja modus vivendi koji neutrališe relevantnost principa
individualnosti i identiteta. To je jedan horror vacui, strah od praznog prosotra, ne onaj antičke „provenijencije“
već jedno zaticanje u mnoštvu, u masi, zahvaćenost maticom savremenog života, vrtlogom stvari, ljudi i događaja
koji sve usisava, premješta, povezuje. To je jedno egzistiranje na vrtešci, u limbu ne biblijskom, danteovskom ili
hičkokovskom već psihodeliji današnjice.
Treš filmovi, horor priče, stripovi i novinski članci, bizarne storije, marginalni detalji, sve postaje relevantno, sve je
upotrebljiv materijal za sklapanje, montiranje umjetničkog rada.
These painted reliefs by Jovan Mrvaljević offer dense dynamism and a high-frequency pulsation of variable objects,
archeotypal forms, codes and private symbols. They reflect mass products of today, media imagery, subcultural
phenomena and Mrvaljević’s own personal obsesions. The result is a thick cluster, a mishmash of the unrecognizable.
This assimilation, interlacing, grafting and capability for hybrid existence create a modus vivendi that neutralize the
relevancy of the principles of individualism and identity.
Jovan Mrvaljević, Installation view
They represent horror
vacui, fear of empty
space, yet not one of an
antique “provenance“.
Here it replicates the state
of being in multitude,
in swarm, caught in the
current of modern life,
in a whirlpool of objects,
persons and events where
everything is sucked
in, rearranged and
intermixed. These works
portray existence on a
merry-go-round, in limbo,
but in the psychedelic
context today, not the
limbo of the Bible, Dante
or Alfred Hitchcock.
Trash films, horror stories,
comic strips and bizarre
marginal details are all
relevant; anything can
provide apt material for
fusion, for editing a work
of art.
Svetlana Racanović
El Amor, kombinovana tehnika | mixed media, 2004
Pečenje, kombinovana tehnika | The Roast, mixed media, 2003
February
Sjećanje na Julija Knifera i Eda Murtića | Hommage to Julije Knifer and Edo Murtić
Razgovor i performans | Discussion & Performance
Vesko Gagović, Ješa Denegri, Vladimir Vukićević, Milija Pavićević, Petar Ćuković
Povodom smrti istaknutih hrvatskih umjetnika Julija Knifera i Eda Murića održane su večeri posvećene ovim
autorima, na kojima su o njihovom radu govorili istoričari umjetnosti Ješa Denegri i Petar Ćuković. Kao omaž
Juliju Kniferu izveden je performans Minut meandra za Julija Knifera koji su sačinjavali neki od najznačajnijih
predstavnika savremene umjetničke scene: istoričari umjetnosti - Jerko Denegri, Petar Ćuković, Ljiljana Zeković,
Aleksandar Čilikov, Mirjana Dabović; umjetnici - Milija Pavićević, Pavle Pejović, Nataša Đurović, Vesko Gagović,
Irena Lagator, Brano Vujičić, filozof Vladimir Vukićević, i studenti FLU Cetinje …
On the occasion of death of two outstanding Croatian artists Julije Knifer and Edo Murić two evenings dedicated
to these artists were held, and their work has been presented by art historians Ješa Denegri and Petar Ćuković. As
hommage to Julije Knifer performance A Minute of Meander for Julije Knifer composed by some of the outsanding
participants from the contemporary art scene: art historians - Jerko Denegri, Petar Ćuković, Ljiljana Zeković,
Aleksandar Čilikov, Mirjana Dabović; artists - Milija Pavićević, Pavle Pejović, Nataša Đurović, Vesko Gagović,
Irena Lagator, Brano Vujičić, philosopher Vladimir Vukićević, students from the Faculty of Fine Arts Cetinje …
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Minut meandra za Julija Knifera | A Minute of Meander for Julije Knifer
April – May
VOJO RADONJIĆ
Mala plaža | Small beach
Naizgled jednostavan fotografski postupak rezultirao je složenom
predstavom jednog specifičnog svijeta – ljudi marginalizovanih
svojim društvenim položajem i samoizolovanih svojim zdravstvenim
tegobama. Iako snimljene u najboljem maniru life fotografije, ove
fotografije nijesu snimci decisive moment („odlučujućeg trenutka“).
Iako je svaka scena-situacija snimljena tako da su fotografije dobile
vanvremensku dimenziju, jasno je da se isti scenario ponavlja iz dana
u dan tokom ljetnjih mjeseci, godinama. Ovo su prizori koje nije
trebalo naći nego vidjeti (fotografisati ih nije bio nikakav problem,
to može svako ko ljeti dođe u Ulcinj). U tom smislu, ove fotografije,
kao „svjesni čin izbora slike“ per excellence, potvrđuju u kojoj mjeri
rezultat iza kojeg stoji rafinirani senzibilitet i duboka koncentracija,
može da bude kompleksan čak i kada nastane iz neposredne, brze
reakcije na uočeni motiv.
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kolor fotografije | color photographs, 2002
Thus a seemingly simple photographic procedure resulted in a complex rendering of a specific world of people
marginalized and isolated by ill health. Even though they
belong to the best tradition of life photography, these
images are not decisive moment shots.The scene-situation
was rendered in such a way that every photograph
gained an out-of-time dimension. Yet it is clear that
the same scenario is repeated daily for years during the
summer months. These scenes were not as difficult to
find as to see. Taking the actual photographs was not a
problem; anyone visiting Ulcinj in the summer could
have taken them. In those terms, these photogrphs, as a
“conscious act of choosing the image“, bear whitness to
how the result, backed by a fine sensibility and careful
concentration, can be complex even when made from an
immediate, speedy reaction to a varied motif.
Mirjana Dabović
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Vojo Radonjić, Installation view
May – June
RATKO ODALOVIĆ
Radovi na papiru | Works on paper
Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum
Solve et coagula! Pročisti i objedini! Kao da je tajanstvena tekućina
iz Odalovićeve alhemičarske retorte, spuštene Odisejevom barkom u
samu utrobu zemlje, slivajući se sa žarom njenoga srca, uprizorila na
platnima zgusnute i misteriozne naracije potrage za zlatnim kovčegom!
U ovo plamteće središte, u jedro rastaljene bezvremene istine svijeta,
Odalović se zaputio kroz sinhronizme koji prevazilaze vrijeme: mitovi, legende, rituali, obredi i forme prikazivanja preuzeti iz različitih
drevnih civilizacija, iz ambara „produženoga djetinjstva“ kao da su,
zajedno sa idejama, iskustvima, literarnim obrascima i formativnim
praksama poznijih i potonjih vremena stopljeni u jedinstvenu ornamentiku tajnih loža, u zamršene putanje i tabele svijeta. Ali sva učenost
svijeta, svo znanje, sva taksonomija bogatog tovara na ovoj barci, sve bi
to bile tek hladne sjenke Istorije, da nije rumenila i sjaja umjetnika, da
nepodnošljivi hlad učenosti i nabrajanja ne zaliva vatrena ruka tvorca.
Solve et coagula! Purify and unite! As if in uncommon fluid from
Odalović’s alchmeist’s retort, lowered in Ulysses’ ceremonial ship into the
very innards of the Earth, flowing with the fire of its hearth, had called up
onto the canvases condensed and mysterious narratives of the search for
the golden ark! Into this fiery core, into the nucleus of the molten timeless
truth of the world, straight in Odalović divied through synchronicities
which go beyond the time: myths, legends, rituals, ceremonies and forms
of representation adopted from various ancient civilisations, from the
repository of “extended childhood“, seem to have been merged with the
ideas, experiences, literary patterns and formative practices of later and
future into an inimitable ornamentation of the secret lodges, into the
tangled paths and tables of the world.
But all the learning in this world, all its knowledge, the entire taxonomy of the rich cargo of this ark, all that would
be only the cold shadows of History, were it not for the blush and gleam of the arist, were it not the fiery hand of
the creator watering the intolerable iciness of learning and enumeration.
Petar Ćuković
Bez naziva, kombinovana tehnika | Untitled, mixed media, 2003
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July
DAMIR NIKŠIĆ
Da nisam Musliman | If I wasn’t Muslim
(...) Počinje se baviti angažiranom umjetnošću, koja se zasniva na subverzivnom, analitičkom i kritičkom preispitivanju
i prikazivanju društveno-političkih uvjeta i vrijednosti kroz
istraživanje i analizu historijskih, političkih, ideoloških,
ekonomskih i društvenih uzroka i posljedica. On nastavlja
kritički reagirati, ali sa jasno definiranog teorijskog i
filozofskog stanovišta. Potaknut poznatom tezom Edwarda
Saida o orijentalizmu kao konceptualnoj shemi koja označava
dominaciju Zapada nad Istokom, Nikšić istražuje i svoj
vlastiti položaj u Sjedinjenim Američkim Državama. Prema
teoriji Edwarda Saida, Orijent postoji zbog Zapada, i Zapad
ga je konstituirao kao nešto inferiorno, ekscentrično,
nazadno, pasivno, kao bizarno i egzotično „Drugo“. Nastaje
niz video radova, performansa, instalacija, u kojima Nikšić
provocira stereotipne konstrukcije identiteta, koje se vežu
za egzotično Drugo, ali u ovom slučaju Drugo vezano za
projekciju Balkana i Balkanaca...
He began to employ an engaged approach to art based
on subversive, analitical and critical re-examination and
presentation of socio-political conditions and values derived
from an examination and analysis of historical, political,
ideological, economical and social causes and effects. He
continues to react with criticism, but from a clearly defined
theoretical and philosophical standopint. Stirred by the
well known theory od Edward Said about Orientalism as
a conceptual structure defining the dominance of the West
over the East, Nikšić explored his own position in the
United States. According to Said, the Orient exists because
of the West and is constructed by the West as something
inferior, accentric, backward, passive, as a bizzare and
exotic “Other“. Nikšić has made a series of video works,
performances and installations in which he challenges the
stereotypical identity constructs associated with the exotic
Other. But in this case, the Other denotes the projection of
the Balkan and the Balkan people...
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Asja Mandić
Video stills
July – August
SLOBODAN ŠIJAN
Vertigo – filmske sekvence | Vertigo – movie sequences
Rekonstruišući mentalni prostor vlasitite
mladosti, ali i čitav niz različitih fragmenata, priča drugih i sl Slobodan Šijan
ocrtava okvir jednog neobičnog istraživanja
unutar dva registra – najpre u tekstu u
formi kinematografskih pesama, a potom
i fotografijama sekvencama lokacija na
kojima je snimana Hičkovova „Vrtoglavica“.
Ova dela registra se ne poklapaju u smislu
u kome bi fotografije ilustrovale tekst ili
obratno – oni korespondiraju, ponekad se uzajamno presecajući. Za
Šijana, radi se, o dve stvarnosti, „one ispred i one ’iza’ filmskog platna“.
K je „mašina želje“ koja pokreće čitavo istraživanje, čitav poduhvat
kartografisanja, „imaginarnog“ kroz tekst, i „realnog“ kroz seriju
fotografija sekvenci. Ta „mašina želje“ određuje pravac kretanja, po
San Francisku, vlastitim beogradskim sećanjima, fragmentima koje
je čuo od prijatelja, ili slučajnim upadima, ponekad pravolinijski u
nedogled, ponekad praveći petlje i prevoje slične Mebiusovoj traci.
Reconstructing the mental space of his own youth, together with
a whole array of various fragments, other people’s stories and the
like, Slobodan Šijan outlines the framework of an unusual research
within two registers – first in the text in the form of cinematographic
songs, and then in the photographs with the sequences of locations
where Hitchcock’s Vertigo was shot. These works do not match in
the sense that photographs illustrate the text or vice verse – they
correspond to each other, intersecting at times. To Šijan, they
actually represent two realities: “one in front of and one ’behind’ the
screen”. K is a “desire machine” which drives the entire research, the
entire mapping process of the “imaginary” through the text and the
“real” through the series of photographs with the sequences. This
“desire machine” determines the direction of movement around San
Francisco, the artist’s memories of Belgrade, fragments that he has
heard from friends or accidental intrusions, sometimes in an endless
linear manner, sometimes making loops and curves resembling a
Mebius strip.
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Jovan Čekić
Golden Gate Bridge, Fort Point, San Francisko, 1998.
Izložba i razgovor, gost prof. dr Slobodan Mijušković
Exhibition and discussion, guest Ph D Slobodan Mijušković
U saradnji sa Galerijom Artget iz Beograda | In collaboration with Artget Gallery from Belgrade.
Fort Point, San Francisko, 1998.
August – September
PETAR LUBARDA
Bilješke iz zarobljeništva | Notes from Captivity
Iz fonda Narodnog muzeja Crne Gore | From the fund of the National Museum of Montenegro
Zarobljenici u njemačkom logoru, crtež | Prisoners in German Concentration Camp, drawing, 1942.
Na ovim radovima kao temporalni kaleidoskop smjenjuju se scene koje poput „filmske trake“ prate put po mukama
ratnih zarobljenika, predstavljenih grupnim i pojedinačnim portretima. Zapravo, kolektivno nije nastalo svjesnom
voljom pojedinca neko nekontrolisanim silama zajedničke sudbine. Mrtvačka, atmosfera psihičke i fizičke pustoši
iskazana je usamljenim i izolovanim likovima i logorskim objektima, barakama, „mrtvačkim kovčezima“ okruženim
ogradama – koljem između kojih, prema nebu, poput sablasnih glasnika smrti štrče usamljeni stubovi.
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Glava, crtež | Head, drawing, 1941.
Slikao je, crtao olovkom, tušem, gvašem,
pastelom, rjeđe akvarelom i uljem.
Olovkom kao sredstvom neposrednog
notiranja, najčešće je uobličavao portrete
i logor, ali i simbolički crtež Bačeni šinjel
koji se kao zaspala, izuvijana i zgrčena
neman prostire zemljom, dok tušem
slika ljude-sjenke koji izranjaju iz tame
nedefinisanog prostora.
Just like in a temporal kaleidoscope, in
these works there take turns scenes that,
like a „film tape“, follow the agonizing
path of war prisoners, depicted through
group and individual portraits. In fact, the
collective was not generated through the
conscious will of an individual but through
the uncontrollable forces of the common
fate. The deathly atmosphere of physical
and mental desolation is conveyed through
the solitary and isolated characters and
objects from the camp, barracks, “coffins“
encircled by a fence – the bound stakes
occasionally interspersed with tall and
lonely posts protruding towards the sky
like ghostly death heralds. He painted in
pencil, Indian ink, gouache, pastels and,
rarely, in water colour or oil. In pencil as
a means of immediate noting he most
often shaped portraits and the camp, but
also the symbolic Thrown Overcoat lying
on the ground like a sleeping, coiled and
contorted monster; in Indian ink, however,
he depicted people-shadows emerging
from the murk of an undefined space.
Ljiljana Zeković
September – October
MAŠA ŠUBINA
На дом
Umjetnica je po završetku izložbe poklonila radove Muzeju | After the exhibition closure the artist donated the works to the Museum
Ciklus „На дом“, koji katkad stilom podsjeća na slike
kineske komunističke propagande, ispituje autorkine
vlastite granice fascinacije u ličnom istraživačkom
projektu koji u središte stavlja njeno autorstvo. Kolekcija
slika čini se bezmalo šizofreničnom u rasponu koji naglim
skokovima varira između provokacije i osjećajnosti,
političkog propitivanja i nostalgije, čulnosti i obscenosti.
Asocijacija na likove mladih žena Nobojuši Arakija
takođe je očigledna. Pozirajući u obrnutom holu slave,
anonimne djevojke istovremeno predstavljaju voljno
erotizirane subjekte i nehotice stereotipizirane objekte.
Međutim, likovi Šubine daleko su od naivnog – ona
okreće inherentno muški pogled i slikarstva i fotografije
unutra ka samom sebi, nanovo preispitujući prihvaćene
predstave u medijima natopljenom svijetu takozvanog
„Zapada“ – koji svakako uključuje i Japan.
„На дом“, sometimes reminiscent in style of Chinese
communist propaganda paintings, tests her own boundaries
of fascination in a personal research project that places her
authorship as a central issue. The collection of paintings
appears almost schizophrenic in its range – leaping between
provocation and sensitivity, political enquiry and nostaliga,
senuality and obscenity. The association with Noboyoshi
Araki’s images of young women is also obvious. Posing in
a reverse hall of fame, the anonymous girls are both willing
eroticized subjects and unwillingly stereotyped objects.
But Shubina’s images are far from naïve – she turns the inherently male gaze of both painting and photography in
upon itself, throwing a new line not questioning on accepted imagery in the media – saturated world of the so-called
“West“ – that for all intents and purposes includes Japan.
Tanya Kim Grassley
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November
RAŠA TODOSIJEVIĆ
Oglasi | Announcements
Izložba i razgovor, gost Dejan Sretenović | Exhibition and discussion, guest Dejan Sretenović
Umjetnik je čitavu izložbu poklonio Muzeju | The artist has donated the whole exhibition to the Museum
(...) Umetnik u ovim radovima po prvi put u akrijeri koristi medije
masovne komunikacije, pri čemu, slično Hansu Haackeu, oglašavanje
razotkriva kao suštinski ideološko kroz postupak subverzivne
imitacije njene komunikacijske i formativne logike. Kroz subverzivnu
imitaciju, Todosijević dekonstruiše procese kroz koje se konstruiše
značenje u sferi masovnih komunikacija, uključujući i načelo
„kulturnog specifikovanja“ oličenog u marketinškom diktumu „misli
globalno, deluj lokalno“. Promocija fiktivnih proizvoda srpskog
porekla na stranim jezicima (Serboragnes, Le fleur du cloaque,
Murder), upravo pervertira pomenuti diktum: poštovanje formalnih
konvencija oglašavanja ovde ne stoji u funkciji masovnog ubeđivanja,
već ironijskog razubeđivanja, odnosno otvorene „izdaje“ mita o
superiornosti Nacije koja je devedesetih godina prošlog veka – kada se
SR Jugoslavija nalazila u međunarodnoj izolaciji – bila kontaminirana
režimskom propagandom o samodovoljnosti i sposobnosti nacionalne ekonomije da zadovolji sve potrebe populacije.
In these works the artist uses the mass media for the first time in
his career, and in so doing, similar to Hans Haacke, he exposes
advertising as essencially ideological through the subversive imitation
of its communication and formative logic. Through this subversive
imitation, Todosijević deconstructs the processes through which
the meaning in the sphere of mass communication is constructed,
including the principle of “cultural specifying“ emboded in the
marketing dictum “Think Globaly, Act Locally“.
The promotion of ficitious products of Serbian origin in foreign
languages (Serboranges, Le fleur du cloaque, Murder), serves pervert
the above mentioned dictum: respecting the formal conventions of
advertising is not in the function of mass persuasion but of ironic
dissuasion, of an open “betrayal“ of the myth of the superiority of
Parfem | The Perfume, 1997.
the Nation which in the nineties of the last century – when the Socialist Republic of Yugoslavia was experiencing
international isolation – was contaminated by the regime propaganda of the self-sufficiency of the country’s economy
and its capacity to satisfy all needs of the population.
Dejan Sretenović
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61
November-December
JEAN–BERNARD SOUDERES
Autoportret (skica jednog istraživanja) | Papiri
Selfportrait (Sketch of a Research) | Papers
U saradnji sa Francuskim Kulturnim centrom Podgorica | In collaboration with French Cultural Center Podgorica
Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum
Omogućiti da se vidi, u viđenoj stvari, ono što pripada samo sebi, onu
intuiciju nekog čula što ne ograničavaju jednostavni obrisi...
Pogled Žan Bernara Sudera djeluje na tu nadmašenost izgleda.
Tu gdje se povlači aktuelnost.
Tu gdje počinju otisci.
Drobljivi tragovi od kojih se hrani pamćenje.
Tragovi ljudskog bića sve do podsmjeha koji pruža materiju za jednu
izložbu.
Ulog se sastoji u nagomilavanju pokazatelja onog što bi moglo da bude
jezik koji se ignoriše, haotična azbuka po zidovima, pejzažima, licima...
Kada sve daje znakove, na koji način se zatvoriti u jedan predmet? (...)
Prevod sa francuskog Persa Aligrudić
To enable to see, in the seen object, what belongs to itself, the intuition
of a sense not limited by simple outlines...
The view of Jean Bernard Souderes acts on the surpassed appearance.
Where actuality withdraws.
Where prints begin.
Crushable traces that memory feeds on.
Traces of a human being all the way to the ridicule providing matter
for an exhibition.
The stake is the accumulation of indicators of what might be the
language ignored, chaotic alphabet on the walls, landscapes, faces…
How to close oneself in one object when everything gives signs? (...)
Marc Hamon
◀ Autoportret | Selfportrait, 2005.
▶ Autoportret | Selfportrait, crno-bijela fotografija | b-w photography, 2005.
58|59
PREDAVANJE | LECTURY OF Ph D SLOBODAN MIJUŠKOVIĆ
Alfred Hičkok. Upotreba slikarstva | Alfred Hitchcock. Use of painting
Hičkok veoma često uvodi slike/slikarstvo u svoje filmove tako što ih u izvesnom smislu oživljava
premeštajući ih iz pozadinskog, neprimetnog, pasivnog plana „mrtvih stvari“ (u prostornom i
konceptualnom smislu) u prednji plan, iz kojeg oni svojim sadržajima i značenjima sudeluju u
ostvarivanju njegovog osnovnog zahteva: ispuniti pravougaonik ekrana emocijom...
Hitchcock often uses pictures/painting in his movies which in certain sense revives them by
dislocating them from the background, unimperceptible, passive postion of "dead things" (in
spatial and conceptual meaning) in the foreground, from which they with their contents and
meanings partecipated in accomplishment of its basic demand: to fill the rectangle of the screen
with emotion...
Slobodan Mijušković
VEČE DOKUMENTARNIH FILMOVA
EVENING OF DOCUMENTARY FILMS OF BOGDAN ŽIŽIĆ
Udar na sjećanje | Damnatio Memoriae, Goli otok
Dokumentarni film o uništavanju istorijskih i kulturnih spomenika u Hrvatskoj u nedavnim
90'tim godinama prošlog vijeka. U tim godinama po službenim podacima u Hrvatskoj je
uništeno oko 3 000 spomen obilježja.
Documentary film about destruction of historical and cultural monuments in Croatia in recent 90's of the last century. In these years according to official data more than 3 000 monuments have been destroyed in Croatia.
Iskaz dvokratnog zatočenika golootočkog logora Alfreda Pala, i prvo filmsko svjedočanstvo
o Golom otoku.
Testimony of the two-time prisoner from Goli otok, Alfred Pal, and first filmed evidence about
Goli otok.
PREDAVANJE DR BORISA BUDENA U CIPELAMA KOMUNIZMA:
OSNOVNE KONTURE KOMUNISTIČKOG DISKURSA
LECTURY OF Ph D BORIS BUDEN IN SHOES OF COMMUNISM:
BASIC FEATURES OF COMMUNIST DISCOURSE
Realizovano u saradnji sa Pravnim fakultetom i Nansen dijalog centrom iz Podgorice.
In collaboration with Faculty of Law and Nansen dialogue Centre from Podgorica.
”Vjerojatno ne postoji bolje mjesto na kojem se može doživjeti taj postkomunistički odnos
prema komunističkoj prošlosti od muzeja komunizma, institucije u kojoj je taj odnos na programatski način konstruiran i izložen.“ Probably there is no better place where one can experience that Post Communist relation towards the Communist past, from the Museum of Communism, institution whre this relation is constructed and exhibited.
2006
TOMO PAVIĆEVIĆ
JEAN BAPTIST SAUVAGE
LAZAR PEJOVIĆ
IGOR RAKČEVIĆ
DMITRIJ A. PRIGOV
March – April
TOMO PAVIĆEVIĆ
Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum
Slike-crteži Toma Pavićevića jesu raskošna, a ne
razmetljiva slika svijeta, prefinjeno i delikatno
paučinasto tkanje što neobavezno ali pouzdano upliće i spaja bića, gradove, ambijente
dajući im neograničenu slobodu leta i pravo
promjene. Ovdje su spojevi laki, slobodni,
trenutni poput ovlašnog dodira; partneri su
slučajni i izmjenjivi. Odnosi su neobavezujući,
uspostavljeni principom kratkog spoja i brze
i neosjetne izmjene; lišeni su tereta nužnosti,
obaveze postojanosti, prinude vjernosti.
Veze su alternativne, bljesnu u trenutku, prema slučaju i zgodi kao dozvoljeno višestruko
uparivanje ili, pak, kao uhvaćeni tihi mir
samovanja u kom tinja topla, nemotivisana želja. Ovdje iskri osjećaj tihog zadovoljstva i nekog treperavog ispunjenja, nekog zadovoljenja
tek u obećanju, u primisli, blago dotaknutog
nagovještajem. Ovdje je ispunjenje oslobođeno
čvrstine volje i jasne namjere, htjenja i zadatih
obećanja, fatalnih vizija i pretenzija na trajanje,
time osuđenosti na konačnost. Ovo je slikarev
„Zabriskie Point“.
Tomo Pavićević’s paintings-drawings are an
intricate yet unpretentious image of the world,
a refined, delicate, cobweb-like weaving of
elements that casually yet confidently entangle
and connect beings, places and environments,
giving each unlimited freedom and licence
to change. The connections made are easy,
free, fleeting and accidental like a passing
touch; partnerships are random and their
constituents interchangeable. The relations
bear no obligations: they are established by
principle of short circuiting and quick and
imperceptible change.
Bez naziva, kombinovana tehnika | Untitled, mixed media, 2005.
They are free from the burden of necessity, obligation to endure and any constrains of fidelity. These relations are
alternative, they spark in a moment, depending on situation and chance, as rightful pairing of varying elements
or-rather-as disruption of peaceful solitude in which glows warm, unmotivated desire. Here is quiet contentment,
blissful fulfilment and gratification that exists only as a token, a reflector or a mere hint. In these works, fulfilment
is driven neither by determined will and clear intentions nor by wishes made and promises given, fatal visions and
pretensions to duration, that is, a consignment to finality. This is the painter’s Zabriskie Point.
Svetlana Racanović
May
JEAN BAPTISTE SAUVAGE
Konceptualna umjetnost | fotografija |
numerička umjetnost | video
Conceptual Art | Photography |
Numeric Art | Video
Selekcija | Selected by Mihael Milunović
U saradnji sa Francuskim Kulturnim centrom Podgorica
In collaboration with French Cultural Center Podgorica
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May – June
LAZAR PEJOVIĆ
Waterholes
Udubljenja u kamenu ispunjena vodom koja u
toku ljetnjih mjeseci lagano isparava, ostavljajući
za sobom likovne šare na površini, predstavljaju
veoma zahvalan motiv za fotografsko istraživanje
koje omogućava beskrajno variranje teme.
U ovom slučaju urađeno je upravo suprotno:
ponavljanjem postupka kadriranja (upravo odozgo, centralna kompozicija) postignut je depersonalizovan, tehnički izgled u svakom pojedinačnom
snimku, stavljajući tako akcenat na njihovu međusobnu različitost.
Površina kamena, snimljena iz neposredne blizine
biva transformisana u fakturu, posni sloj različitih
nijansi sive, u čijem se središtu odvija dinamična
igra boja i površina, asocirajući pritom na slojeviti,
gusti, enformelistički nanos boje na platnu.
Ali ni u kom slučaju „materijal kamena ne postaje
materijal apstraktne slike“ već „ostaje materijal“ koji
je bio, „emanacija prošlog stvarnog“ čiji je svjedok
bio autor.
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Depressions in stone, filled with water which
slowly evaporates over the dry months, leaving
behind patterns on the surface, represent a motif
which rewards photographic exploration, enabling
endless variation of a theme. In the present case, the
exact opposite was done: by repeating the framing
procedure (straight above, central composition),
a depersonalised, technical aspect was ahieved in
every individual shot, thus putting the stress on the
differencec between them. The surface of the stone
photographed at point blank range is transformed
into texture, into a lean layer of variations shades
of grey with a dynamic interplay of colours and
surfaces at its centre, recalling the layered, dense
application of paint to canvas of Art Informel. Far
from it, however, that the “material of the stone
becomes the material of the abstranct painting“, it
“remains material“ which was “the emanation of
past reality“ witnessed by the author.
Mirjana Dabović
July –August
IGOR RAKČEVIĆ
Rakčevićevi radovi na ljepenci, materijalu koji
služi za pakovanje industrijskih proizvoda, kao i
tehnika serigrafije koju primjenjuje upućuju na
mrežu mnogobrojnih referenci: od povijesnoumjetničkih i filozofskih rasprava o prirodi i
karakteru umjetnosti moderne i njenog slijeda, a
tu prije svega mislim na rasprave o “gubitku aure”
i dijalektici odnosa original-kopija, započete u
dvadesetom vijeku u znamenitoj raspravi Valtera
Benjamina “Umjetničko djelo u dobu tehničke
reproducirljivosti” iz 1935/6 godine, sve do našeg
lokalnog, vrlo konkretnog, aktuelnog sociokulturnog konteksta.
(...) Nema sumnje, namah je razabirljivo: ovo su ljudi
sa “periferije”, sa “margine”, ne slučajno fotografisani
“u samom srcu socijalne stvarnosti”, na kamionskim
i inim pijacama, u socijalnom polju sklonjenom od
“blještave svjetlosti i lažnog sjaja prestižnih, etabliranih društvenih pozornica”...
Rakčević's works on cardbaord, material that is used for packing industrial products, as well as techniques of
serigraphy that he applies refer to the vastness of references: from historical-artistic and philosophical disputes
on nature and character of modern art and its sequence, and there primarly I have in mind disputes on "loss of
aura" and dialectic of original-copy relations, that were conceived in 20th century in famous Walter Benjamin's
dissertation "The Work of Art in the Age of Mechanical Reproduction" from 1935/6, until our local, very concrete,
actual socio-cultural context.
(...) There is no doubt, it is clear: these are people from the "periphery", from the "margines", not accidentally
photographed "in the very heart of the social reality", at truck and other markets, in social field far from "shining
light and fake glow of prestigious, establishe social stages"...
Petar Ćuković
Bez naziva, sitoštampa na lepenci
Untitled, print on cardboard, 2004/2005.
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Igor Rakčević, Installation view
August – September
DMITRIJ ALEKSANDROVIČ PRIGOV
Fantomi instalacija | Fantoms of Installations
Izložba i performans | Exhibition and performance
Umjetnik je čitavu izložbu poklonio Narodnom muzeju | The artist has donated the whole exhibition to the National Museum
Svi projekti mojih instalacija su slike modernog prosotra, koje se tokom realizacije u granicama konkretnog mjesta, naravno, modifikuju
u skladu sa njima, mijenjajući se skoro do neprepoznatjlivosti. Ali
na papiru ona (slika) postoji u prvobitnoj čistoti i čednosti. Kroz taj
modelarni instalacijski prostor fantoma prolaze mnogobrojni predmeti
i stanovnici našeg okolnog svijeta, poprimajući različite dimenzije
i stupajući u razne odnose, ali obojeni osnovnim nepromjenjivim
bojama. Trima metafizičkim bojama, tačnije osnovnim bojama
ruskih ikona i ruske avangarde sa početka XX vijeka – crnom, bijelom
i crvenom.
Crna je boja skrivenosti, metafizičke tajne i magične nedokučivosti.
Bijela je boja energije i izviranja. Crvena je boja život, Vita. Sinonimi
crne su lila i ljubičasta. Bijele – žuta i oranž. Crvene – zelena, na nivou
rasapa jedinstvenog fenomena života na vegetativni i životinjski
(kojim protiče krv).
Preveo sa ruskog P. Ć.
All projects of my installations are pictures of a modern space, which, naturally, during their realization within the
confines of a concrete place, are modified in accordance with them, being altered almost to the point of beyond
recognition. But on the paper, it (the picture) exists in its original purity and innocence. Through this modular
installation space of phantoms, numerous objects and inhabitants from our surroundings pass, taking on various
dimensions and establishing various relationships, but colored in basic unchangeable colors: three metaphysical
colors, notably the basic colors of Russian icons and Russian Avant-Garde from the beginning of the 20th century
– black, white and red.
Black is the color of the hidden, of the metaphysical secret and magic elusiveness. White is the color of energy and
efflux. Red is the color of life, Vita. The synonyms of black are lilac and purple. The synonyms of white – yellow
and orange. The synonym of red is green, at the level of the division of the unique phenomenon of life into the
vegetative and the animal (with blood flowing through it).
Dmitrij Aleksandrovič Prigov
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June
MARIJA KAPISODA
Zemlja-Svjetlost, Svijetlo-Tamno | Soil-Light, Light-Darkness
Magistarska izložba | Master Exhibition
Installation view
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81
2007
ILIJA BRANKO BURIĆ
ILIJA ŠOŠKIĆ
IVAN BLAŽEV
MIHAILO PAVIĆEVIĆ
ČEŠKI VIDEO
PETAR LUBARDA
ILIJA BRANKO BURIĆ
May
Crteži | Drawings
U saradnji sa Centrom Savremene umjetnosti Crne Gore
In colaboration with Center for Contemporary Art of Montenegro
Odavno znamo da nigde kao u crtežu tvrdnja da je u
umetnosti i za umetnika proces (trajanja rada, vreme
prepušteno radu) presudniji od cilja (završenog dela,
estetskog predmeta) ne nalazi jače i čvršće potvrde. Ali
na svakom je pojedinom umetniku odanom crtežu/
crtanju da ovu staru istinu primeni i proveri u sopstvenoj
praksi opsesivnog crtača. Evo jednog umetnika koji
nije mogao drukčije nego da se već dugo i bez ikakve
odstupnice preda opsesiji te prakse: za Iliju Burića
crtanje postaje sudbina, crtež jedini plod kojim rađa
ovo krajnje asketsko umetničko i životno opredeljenje.
U usamljeništvu mesta koje je za ovog umetnika ujedno
prostor svakodnevnog postojanja i prostor neprekidnog
rada nastaju mnogobrojni listovi olovkom, pre kao
neki dnevnički zapisi, fragmenti neke gotovo beskrajne
trake, nego kao pojedinačni rezultati koje bi iz te trake
trebalo izdvajati po merilu estetske norme i kriterijuma
usavršavanja crtačkog znanja.
We have known for long the claim that in art and to
artists the process of creation is more decisive than the
product itself (the finished piece, aesthetic object), is
best confirmed in drawing. Still, it is on each individual
artist committed to drawing to apply this ancient truth
and test it in his/her own practice as an obsessive drawer.
Here is an artist who could do nothing else but surrender
himself for long and unyieldingly to the obsession
of this practice: for Ilija Burić, drawing becomes his
destiny, and a drawing the only product with which he
treads this ascetic art and life path. In the solitude of the
place which, to this artist, is at the same tame the space
of his everyday existence and his incessant work, many
sheets of paper are produced with a pencil, resembling
some diary notes, fragments of an almost endless tape,
rather than individual results which are to be separated
from the tape by applying some aesthetic norms and
the criterion of drawing skill.
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Ješa Denegri
May – June
ILIJA ŠOŠKIĆ
Praslika uzora | Proto-image of an Ideal
Propozicija izložbe jeste konfiguracija crnog kvadrata u vertikalnoj
poziciji i „čarobne četvrtine“ u horizontalnoj poziciji. Komozicija
je konstituisana od četiri lesonitske table, četiri kvadratna metra
crnog platna, tečni katram, konstruisani metalni kvadrat, 25
komada kamena...?
Jednom prilikom Majakovski je rekao da su muzeji kuće mrtvih
stvari, u funkciji tada ideološke opsesije jedne generacije kojoj je
i Maljevič pripadao, ali sa drugačijom vizijom.
... Filozofi kažu da istorijsko opstajanje razabiramo ako ga
dovedemo u pitanje. Crni kvadrat nije ništa drugo nego umjetnost
dovedena u pitanje (ili propitivanje). To nam potvrđuje i praslika
uzora, dakle najviša ideja. O tome se radi. Crni kvadrat Maljeviča;
konzervirano govno umjetnika Manzonija; konji u galeriji
Kunelisa, i moj pucanj u zid su umjetnička djela za istorijsko
opstajanje; bez čega bismo nestali u magli...
The scheme of the exhibition is the configuration of a black square
in the vertical position and a “magical quarter“ in the horizontal
position. The composition is comprised of four hardboard panels,
four square metres of black canvas, liquid tar, a constructed metal
square, twenty-five pieces of stone...?
Mayakovsky once said that museums were houses of dead things,
serving the ideological obsession of a generation which Malevich
belonged too, but with a different vision.
Philosophers claim that historical survival is descerned if brought
into question. The black square is but art brought into question
(examined). This is confirmed by proto-image of an ideal, the
supreme idea. That is what is all about. Malevich’s Black Square;
Manzoni’s Conserved Shit of the Artist; Kounellis’s Horses in the
Gallery and my Shot to the Wall are works of art for historical
survival, without which we would disappear in the fog...
Ilija Šoškić
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May – June
IVAN BLAŽEV
Makedonija koja sanja | Macedonia Dreaming
Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum
H Metropol Ohrid
Svaka fotografija, pa čak i ona sa naizgled
najprozaičnijim dokumentarnim ambicijama
sadrži autobiografski segment, emituje nešto
od bića autora.
Kretanje od spolja ka unutra, Ivan sprovodi kroz
jedan standarni fotografski, dobro poznati princip
„odlučujućeg trenutka“ koji je u direktnoj relaciji
sa prepoznavanjem dominantne vlastite emocije,
mentalnog stanja, i to na izuzetno elegantan i
rafiniran način.
Spolja on bira trenutak, koji odražava smisao
situacije koju bilježi, dok unutra bira emotivno
stanje koje se njime opredmećuje, materijalizujući
ga kroz složena simbolička značenja. Radnja
postaje psihološki iskaz „unutrašnjeg pejzaža“
prepoznate situacije.
Ipak, među njima nema apsolutne podvojenosti.
Iako za određeni broj fotografija možemo reći da
pripadaju grupi tzv „lajf “ snimaka, dok su druge
naglašeno meditativne, neke, začuđujuće, sadrže
oba kvaliteta.
Each photograph, even if it appears to have the most prosaic documentary ambition, contains an autobiographic
segment and broadcasts something of the author’s being. Ivan accomplishes this transition from the external to the
internal through the standard and well-known photographic principle of the “decisive moment“, which is directly
related to the recognition of one’s own dominant emotion or mental state, and he does this in an extremely elegant
and sophisticated manner. Externally, he choses a moment which reflects the meaning of the situation which he
is recording, while internally he chooses the emotional state which is embodied by it, materialising it through
complex symbolic meanings. The action becomes a psychological expression of the “internal landscape“of the
recognised situation. However, there is no absolute separation between them. Although some of the photographs
can be said to belong the group of so-called “life“ images, while others are markedly meditative, a few, remarkably,
contain both qualities.
Mirjana Dabović Pejović
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Brod Baunti | The Bounty Ship, Skopje
June – July
MIHAILO MILI PAVIĆEVIĆ
Seks u Malom Parizu | Sex in Little Paris
Ovi su crteži dijagnoza društva koje živi sindrom „prigradske kafane“
krajputašice, živi iluziju da veliko dobro samo što nije tu, da smo ga prizvali
i zaslužili i da već samim širenjem centra i „krajputašica“ brzo upasti sa ruba
u središte. I sve se potajno nadamo da niko iz tog centra neće registrovati
pokušaje da se sa margine prošvercuju sve drage nam specijalne usluge
prigra-dske kafane kao mali, tajni čuvari naših „starih, dobrih navika“ i
„malih užitaka“ i pokazalo se, unosnih poslova. Umjetnik tome „odaje
priznanje“ radom na aluminijumskoj foliji, radom-plaketom ili radomspomenikom dobro utanačenom i uz piće zalivenom poslu. U ovom
Pavićevićevom terarijumu obitavaju baby face killers, ubice šuma, ubice
za volanom i za operacionim stolom, stari pohotnici i sponzoruše, „veliki
iluzionisti“, „prodavci magle“ i falsifikatori, kompleksaši i razmetljivci,
debelokošci i pervertiti, žderači svega, oni u grupama jaki, kolaboranti i
klimoglavci, korupcionaši, posjednici zapuštenh tijela i neutaživih apetita,
oni „dobrosnalazeći“, povampirene „sijede glave“ i uživaoci kafiice uz crveni
šal koji „legitimiše“, ovisnici od svega i svačega, svakojaki profiteri od stanja
opasne proizvoljnosti, stanja svedopuštenosti.
These drawings are the diagnosis of a society living the syndro-me of the
“suburban coffee place” located along the road, living the illusion that the
great good is almost there, that we have evoked it and deserved it, and that
by extending the centre, the “suburban coffee place” will soon move from the
margin to the centre itself. And we secretly hope that no one from the centre
will notice our attempts to smuggle from the margin all special services, so
close to our heart, of the suburban coffee place as a small, hidden guards of
our “good, old habits” and “small pleasures” and, as it has turned out, lucrative
businesses. The artist “pays tribute” to this with a work on the aluminium
foil, plaque or monument, a well agreed job celebrated with a few drinks.
Pavićević’s terrarium is inhabited by baby face killers, forest killers, killers at the
wheel and the operating table, old sensualists and “sponsor” seeking women,
“great illusionists”, “fiction-mongers” and counterfeiters, complex-ridden
and unscrupulous persons, perverts, gluttonous eaters of all, those who are
strong in groups, collaborators and followers, corruptors, owners of decrepit
bodies and insatiable appetites, those who do well no matter what, those
“grey-headed vampires“ and eager coffee drinkers wearing a “labelling” red
scarf, various kinds of addicts, various profiteers from the state of dangerous
arbitrariness, the state in which everything is allowed.
Svetlana Racanović
Mihailo Mili Pavićević, Installation view
July
UOPŠTENO I POJEDINAČNO
Češki video | Czech video
Uopšteno i pojedinačno je reprezentsativni izbor
savremenih video radova umjetnika sa praške
scene koja je momentalno najznačajniji punkt
video produkcije u Češkoj republici.
Osim čeških autora predstavljeni su i radovi ruskih, i po jednog slovačkog i norveškog umjetnika
koji žive i stvaraju u Pragu.
Video kao medij i kompleksna platforma za
dosljedno i kritičko istraživanje pruža umjetnicima široki dijapazon mogućnosti.
Pomoću videa umjetnici analiziraju i dekonstruišu
vizuelne klišee i dominantne kodove reprezentacije
koristeći se pritom raznim strategijama i formama.
Uvedimo između ostalog: video dokument, video
performans ili video instalaciju.
Izabrani video radovi posredstvom mišljenja i
djelovanja njihovih autora, kulturne i društvene
refleksivnosti na sasvim nespektakularan način
tumače aktuelne teme.
Generally and individually, the selection of contemporary video works is representative of the artists from the
Prague scene which is currently the major point of video production in the Czech Republic.
Apart from Czech artist, the selection also includes the works of Russian artists, as well as one Slovak and one
Norwegian artist living and working in Prague.
Video as a medium and a complex platform for consistent and critical research offers artists a wide range of possibilities.
Through the video, artists analyze and deconstruct visual clichés and dominant codes of representation, employing
various strategies and forms.
To mention but a few: video document, video performance or video installation.
Through the opinions and action of their authors, through cultural and social reflectivity, the selected works interpret
the current issues in an unspectacular way.
Vjera Borozan
Umjetnici | Artists
Jesper James Alvaer, Vasil Artamonov, Zbuněk Baladrán, Alexey Klyuykov, Eva Kot'átková, Dominik Lang, Michal Pěchouček,
Sláva Sobotovičova, Tomáš Svoboda, Marek Ther
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Kateřina Šedá, Ovdje ničeg nema | There is Nothing Here
July – November
PETAR LUBARDA
Printovi slika iz ciklusa Dosta krvi dosta ubijanja
Prints from the cycle Enough blood, enough killing
Dio retrospektivne izložbe u Plavom dvorcu | Part of the retrospective exhibition in Blu Pallace
Ako je njegov susret sa Istorijom između dva rata obilježen osjećajima
duboke presije i tjeskobe, tako vidljivim u bezmalo svim njegovim
tadašnjim radovima, nakon Drugog svjetskog rata, u vremenu za koje
se poletno mislilo da na zemlji otvara prostor za rajske puteve nebeskih
vrtova, Lubarda stoji pred Istorijom najprije kao graditelj, nošen vjerom
da ona, Istorija, treba neko novo lice, da Novo Doba zahtijeva i neku
„novu“, ali svakako ne „naručenu“ umjetnost. Istovremeno, uprkos
svojoj vjeri u vrijednosti novoga društva, negdje u dubini bića, ostalo
je kod Lubarde sačuvano, srećom po njegovu umjetnost i našu kulturu,
temeljno osjećanje za dramu svijeta i tragizam ljudske sudbine, osnaženo
i najdubljom ličnom dramom – gubitkom oca, ubijenog u ideološkim
vrtlozima Novog Vremena. Otuda u sred svjetlosne raskoši njegovih
poratnih slika usidrena stigma crnog gavrana, kao znak Sudbine koja
svojim krilima pokriva i obavija sve.
If his encounter with History between the two wars is marked by the
feelings of deep pressure and anxiety, so visible in almost all of his works
from this period, in the aftermath of the Second World War, at the time
when people enthusiastically believed that the earth opens a space for
elysian roads of heavenly gardens, Lubarda stands before History first
as a constructor, driven by the belief that History needs a new face,
that the New Age requires a “new” but by no means “commissioned”
art. At the same time, despite his trust in the values of the new society,
somewhere in the depths of his being, to the benefit of his art and our
culture, Lubarda preserves the fundamental sense for the drama of the
world and the tragic nature of human destiny, reinforced by the most
profound personal drama – loss of his father, killed in the ideological
whirlpool of the New Age. Hence amidst the luxury of light of his postwar paintings the anchored stigma of the black raven, as a sign of Fate
encompassing all with its wings.
Petar Ćuković
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Portret neprijatelja | A Portrait of the Enemy, 1941.
RADIONICA MUZEJSKA INVENTARIZACIJA I DOKUMENTACIJA
MUSEUM INVENTARISATION AND DOCUMENTATIOM WORKSHOP
Trodevna radionica u oraganizaciji Narodnog muzeja je dio projekta Kulturno nasleđa bez granica iz Stokholma čiji
je cilj uspostavljanje saradnje između muzeja Balkana. Cilj radionice je bio upoznavanje sa normativina ICOM-a i
primijenom savremenih metoda u oblasti muzejske inventarizacije i dokumentacije, kao i razmijena iskustava među
muzealcima iz regiona.
Predstavljena je i elektronska baza podataka Narodnog muzeja čiji je autor Aleksandar Berkuljan.
Three-day workshop organized by National Museum is part of the project Cultural Heritage without Borders from
Stockholm whose aim is establishing collaboration between museums from Balkan. The aim was to get acquanted
with ICOM normatives and the application of contemporary methods in the field of museum inventarization and
documentation, as well as exchange of experiences between museum professionals from the region. On this occasion electronic data base of the National Museum has been presented created by Aleksandar Berkuljan.
Učesnici iz | Participants
Regionalni muzej Đakovica | Regional Museum Djakova
Narodni muzej Beograd | National Museum Belgrade
Muzej grada Novog Sada | Museum of the City of Novi Sad
Nacionalni muzej Tirana | National Museum Tirana
Zemaljski muzej Sarajevo | National Museum of Bosnia and Herzegovina
Muzej Makedonije Skoplje | Museum of Macedonia Skopje
Muzej Kosova | Kosovo Museum
Muzej grada Zenice | Museum of the City of Zenica
Muzej Republike Srpske Banja Luka | Museum of Republika Srpska, Banja Luka
Predavači | Lecturers
Hans Rengman, nezavisni konsultant, Švedska | independent consultant, Sweeden
Višnja Zgaga, direktor muzejskog Dokumentacionog centra Zagreb | director of Museum Documentation Centre Zagreb
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2008
IRENA LAGATOR PEJOVIĆ
IVANKA VANA PRELEVIĆ
OLIVIJA IVANOVIĆ
SUZANA PAJOVIĆ ŽIVKOVIĆ
VLADIMIR TATAREVIĆ
MILENA MARTINOVIĆ
ALEKSANDRA DADA TOMIĆ
MILENA JOVIĆEVIĆ POPOVIĆ
April – May
IRENA LAGATOR PEJOVIĆ
What We Call Real
Dijalog uspostavljen između posmatrača i djela prenesen
je na rad u kojem se u srednjem korpusu uspostavlja
„alhemičarski dijalog“ između srebrne (desno) i zlatne
(lijevo) simfonije linearnih kadenci koje u konkretnom
prosotru dobijaju referenece skulptoralne taktilnosti.
Ovdje se formira jedna druga materijalnost, i jedna
drugačija ili moguća stvarnost, koje kroz prostorne
kontrapunktove i harmonične talasaste niti srebra i zlata
projektuju naše iskustvene i prirođene mitologeme.
Prirodni elementi srebro – mjesec, voda, ženski princip
i zlato – sunce, nebo, muški princip zaokružuju jedan
kosmički prostor u čijem se virtuelnom beskraju rađa jedan
novi svijet, jedna nova moguća realnost, koju umjetnik
realizuje u skladu sa svojim unutrašnjim zakonitostima, pri
čemu je umjetnik-stvaralac taj koji je apriorno odgovoran
prema sebi, svom djelu i posmatraču.
Seemingly, the dialogue established between the viewer
and the piece is reflected in the works, with the middle
layer in “alchemic dialogue“ between silver (right) and
golden (left) in a symphony of linear cadenzas. In this
specific space they gain characteristics of architectural
tactility.
Here another kind of materiality is formed, a different,
or possible, reality that projects our experiential or
learned mythologems through spatial counterpoints and
harmonious and wave-like threads of silver and gold.
Natural elements silver-moon, water, the female – and
gold – sun, sky, the male – surround cosmos in whose
virtual eternity emerges a new world.
This is a new possible reality that the artist arranges
according to its internal rules; the artist-creator takes a
priori responsability for herself, her work and the viewer.
Ljiljana Zeković
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Instalacija, srebrna i zlatna pamučna vlakna | Installation, silver and gold cotton threads, 2008.
May – June
IVANKA VANA PRELEVIĆ
Paralaktički pejzaži | Parallactic Landscapes
Upravo na relaciji razmišljanja o paradoksalnosti „paralaktičke“ (promjena ugla posmatranja) relacije čovjek –
priroda kreću se novi Vanini radovi. Kroz naizgled dopadljiv, jednostavan i lako čitljiv jezik ona na ambivalentan
način, ironično i kritički komentariše odnos prema prirodnom ambijentu, koji se najčešće manifestuje kroz akcije
površinskog uljepšavanja, jednokratnog šminkanja, kao očito prividnu, rutinsku brigu za okolinu. Da li je ovo
„ekološki“ angažovana umjetnost koja podstiče „ekološku“ svijest ili, možda konstatacija besmislenosti i suštinske
kontraproduktivnosti ekološkog djelovanja „na malo“, u slobodno vrijeme, usput, bez prave žrtve i ozbiljnog
odricanja? Prije da se radi o ovom drugom...
Bez naziva | Untitled, 2004
digitalni print na kesama za usisivač | digital print on vacuum cleaner bags
Ivanka Vana Prelević, Installation view
It is this line of thinking of the paradoxical nature of the “parallactic“ (changing the viewing angle) man-nature
relation that Prelević’s new works are heading for. Through a seemingly pleasing, simple and easily read language,
in an ambivalent, ironic and critical manner the artist comments on man’s attitude towards the environment, which
is most often manifested in superficial beautification, one-shot make-up, as obviously simulated, routine care for
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the environment. Is this “ecologically“ engaged art promoting “ecological“ awareness or, perhaps, a statement of
the absurdity and essential counter-effectiveness of small scale ecological action, pursued just casually, in spare
time, with no real sacrifice or serious renunciation? The latter seems more likely...
Mirjana Dabović Pejović
June – July
OLIVIJA IVANOVIĆ
In memoriam
Svaki list građen je iz nekoliko slojeva, uz upotrebu različitih grafičkih
tehnika, štampajući obrnutim ostupkom – od crnih nanosa ka bijelim;
prvi sloj – podloga, akvatinta obostrano; drugi sloj – diskrenti listovi
masline, poput pliša, u tehnici meke prevlake; dok je portret za koji
je najprije napravljen fotografski predložak, realizovan u tehnici
mecotinte. Ovako kompleksim, gotovo ritualnim procesom građenja
svake kompozicije ostvarena je besprekorna finalizacija, koja se
najbolje uočava u gotovo opipljivim slojevima treperavih površina, a
naročito u perfektnoj, alabasterskoj, glatkoći lica, sasvim „imunog na
vrijeme i iskustvo“ – poput fotografije Roberta Mejpltorpa na kojoj je
portret statue Apolona. Svaka od ovih autentičnih cjelina istovremeno
je i slika i objekat, sa licem i naličjem – „leđima“ načinjenim od guste,
neprozirne crne mase. Pakovanjem u staklene kutije, omogućava nam
da sagledamo obje strane, da obiđemo oko nje, dodjeljujući grafičkom
listu i treću dimenziju, uspješno ga izmještajući iz klasičnog okvira.
Each sheet has been produced in several layers, with the use of diverse graphic techniques and reverse printmaking procedure – from
black to white layers; the first layer – the base, aquatint on both sides;
the second layer – discreet, plush-like olive leaves, in the soft coating
technique; finally, the portrait, for which a photographic template
was first made, was created in the mezzotint technique. With
this complex, almost ritual creative process of each composition,
an immaculate finalization is achieved, which is most visible in
almost tangible layers of shimmering surfaces, particularly in the
perfect, alabaster smoothness of the face, totally “immune to time
and experience” – like Robert Mapplethorpe’s photo featuring the
portrait of Apollo’s statue. Each of these authentic wholes is at the
same time a picture and an object, with its face and its reverse – the
“back” made of thick, opaque black mass. By packing his works in
glass boxes, the artist enables us to view both sides, to go around the
work, thus assigning the graphic print a third dimension, successfully
displacing it from the classical framework.
Mirjana Dabović Pejović
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kombinovana tehnika | mixed media, 2007.
Foto | Photo: Anka Gardašević
August
SUZANA PAJOVIĆ ŽIVKOVIĆ
I Need to believe
Ironično postalo je obično ...
Disciplin A Kitschme, pjesma: Neko mora to da spreči
(Kada kažeš muzika, na šta tačno, reci mi?, 2007.)
Postavljam pitanje o nematerijalizovanom. Ostvarenom i nematerijalizovanom. Razlika pruža potencijalnu mogućnost
daljeg rasta i preobražaja djela.
Da li u memoriji posmatrača ima prostora da se stvori trodimenzionalna slika tog i takvog djela?
(Znam da se atribut DJELO, u ovom vremenu lako dodaje i skida.)
Analiziram nametnuti jaz između duha i njegove opredmećenosti. Stvaranje je beskonačno i nazaustavljivo angažovanje, ali može (ili mora) da se ispolji samo u završenim, konačnim oblicima.
Djela su ponekad samo pokušaj prevazilaženja tog jaza i onda poput fragmenata, kako ga je Šlegel vidio, „zatvorena sama
u sebe i sama sebi dovoljna, a istovremeno i slobodno otvorena na sve strane za dalja dograđivanja i asocijacije.“
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The ironic has become commonplace...
Disciplin A Kitschme, song: Someone must stop this
(When you say music, tell me what you mean?, 2007)
I am asking a question about the non-materialized. Fulfilled and non-materialized. The difference offers a
potential possibility of further growth and transformation of the work.
Is there enough space in the memory of the viewer to create the three-dimensional image of such work?
(I know that in this time the attribute WORK is easily added and removed.)
I am analyzing the gap imposed between the spirit and its material form. Creation is an infinite and unstoppable
engagement, but it can (or must) be expressed only in the finished, final forms.
Works are sometimes just an attempt to bridge this gap and then, like fragments, as Schlegel saw it, they are
“closed in themselves and self-sufficient, and at the same time freely open on all sides for further upgrading and
association.”
Suzana Pajović Živković
Foto | Photo: Duško Miljanić
September
VLADIMIR TATAREVIĆ
Spartanci, iz ciklusa Sila tela | The Spartans, from the cycle The Force of the Body
Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum
Izložba i prezentacija | Exhibition and presentation
Umetnik je nadahnut spartanskim ratnicima koji, svesno odlazeći u
smrt, malobrojni i tragično suprotstavljeni zastrašujućoj persijskoj
sili, predstavljaju jedinstven primer hrabrosti, odvažnosti i ludila.
Autor je, modernim pristupom, moćnog antičkog borca stavio
u sadašnje vreme. Zadivljujuća, izvajana tela u pokretu i grču
podsećaju nas šta je iskonska priroda, snaga duha i tela muškog
pola, večito provociranog žeđu za borbom, za moći.
Ove fotografije kao da nose poruku da u ma kom vremenu, sa
ma kakvim oružjem, neprijateljem, čovek će ipak najvažniju bitku
voditi sa samim sobom.
The artist was insiperd by Spartan warriors who, consciously
facing death in their tragic confrontation with the fearless Persian
army, represent a unique example of bravery, pride and madness.
Through a modern approach, the author presents ancient warriors
in present time. Magnificent, sculptured bodies in movement and
pain remind us of the inherent power of the soul and body of
men, always provoked by thirst for fight and power.
These photographs seem to convey the message tha, no matter
in what time or with what weapon or enemy, humans fight the
biggest battle within themselves.
Vladimir Tatarević
Foto | Photo:
Zorica Petanović
October
MILENA MARTINOVIĆ
Strati - Lunaria
U preispitivanju odnosa prema sebi i spoznaji o procesu stvaralačkog čina ona poseže za sjećanjima iz djetinjstva,
prizivajući davno potisnute emocije i najranija stečena iskustva. Tražeći jednostavan način na koji bi se najbolje
materijalizovala potreba za jednom transformabilnom, neutralnom, gotovo nevidljivom, a opet višeznačnom
strutkturom ona pronalazi konkretan oblik u prirodi – list Lunarie. Ova biljka specifičnog elipsastog oblika, polu
prozirnog, skoro nestvarnog sedefastog sjaja postaje uzor za razvijanje kreativnog djelovanja. Prateći promjene
u njenom životnom ciklusu – sušenje, ljuštenje, truljenje, ispadanje sjemena, ponovno klijanje... ona posredno
sagledava vlastite mjene, prispitujući smisao postojanja doživljen u širem kontekstu, i svoje mjesto na kosmičkoj
mapi, viđeno kroz čin stvaranja.
In questioning these relations towards herself and perceiving the process of creative moment, she reaches for
memories from her childhood, recalling supressed emotions and earliest experiences. Looking for a simple way in
which to materialize something transient, neutral or almost invisible and yet more complex structure, she has found
a concrete shape in nature, in the leaf of the plant Lunaria. Spesific elliptical form, translucent, almost nacreous, has
become the model for developing this creative act. Following the changes in the plant’s life cycles (withering, seding,
decomposing and growing again), Milena indirectly reconsiders her own changes, by questioning the meaning of
her own existence in a wider context, and her place on a cosmic map, seen through the act of creation.
Mirjana Dabović Pejović
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Garderober, tuš na japanskom papiru
Wardrobe, ink on Japenese paper, 2006.
November
ALEKSANDRA DADA TOMIĆ
Pakovanje intime | Packing of the Intimacy
Najsveobuhvatniji način za sagledavanje iskustava o životu i umjetnosti za Aleksandru Tomić, je forma dnevnika.
Bilo da bilježi uobičajene, dnevne rutinske radnje, relacije
i doživljaje ili u formi grafičkih listova, umjetnica pakuje
svoju intimu – nesigurnosti, strahove, strepnje, skrivene
želje, osjećanja...
Sasvim neočekivano pred nama se otvara jedan neposredni doživljaj svijeta za koijim čezne-svijeta u kome su
žive uspomene iz djetinjstva, u kome je opipljiva lakoća i
prozračnost maslačka, gdje se osjećaju mirisi i vide slike
iz roditeljskog doma... I taman kad nam se učinilo da se
odvažila da nam ponudi svoj brižljivo čuvani, učaureni
mikrokosmos, shvatamo da je potrebno još vremena i
strpljivog osluškivanja, jer je treperenje ovih predstava
diskretno, uzdržano, skoro sasvim utišano.
To Aleksandra Tomić, the most comprehensive way to
view experiences of life and art is the diary.
Whether nothing down the mundane daily routines,
relations and experiences, or in the form of graphic prints,
the artist involves her innermost feelings – insecurities,
fears, apprehensions, hidden desires, emotions.
Quite unexpectedly, a personal and direct experience
of a world that she longs for opens before us – a world
in which memories from childhood are still alive, in
which the lightness and airiness of the dandelion is
tangible, and in which smells and pictures from the
parents’ house abound. And just when we think that
the artist has made bold to offer us her carefully kept,
cocooned microcosm, we realize that this takes more
time and patient listening, since wavering of these
images is discreet, restained, almost totally silent.
Mirjana Dabović Pejović
Nemiri, duboka štampa | Anxiety, intaglio printing, 2007.
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Povedi me, duboka štampa | Take Me with You, intaglio printing, 2007.
November – December
MILENA JOVIĆEVIĆ POPOVIĆ
Bez šećera | Sugar Free
Sugar free, (bez šećera) je nezaslađena priča o jednom novom društvenom poretku, kojim dominiraju razne
devijacije savremenog društva u kome je sve manje moguć život u skladu sa prirodom i njenim zakonitostima.
U opštoj zbrci gdje su mnogi sistemi vrijednosti poljuljani u temelju i lišeni elementarnih emocija, sve što je
zavisnost i robovanje prodaje se pod imenom „sloboda“.
Upravo iz tog razloga poigravam se sa čovjekom koji umišlja da je Bog.
Na svom putu od renesansnih ideala savršenih proporcija tijela (skica po Vitruviju, Leonarda da Vinčija) do „nove
estetike“ savremenog doba, moj čovjek se rastapa i gubi identitet. „Svemoćan“ i gord živi svoju zabludu. Vjeruje
da posjedovanjem plastičnog prenaglašenog tijela dobija božansku moć kojom se suprotstavlja procesu starenja i
odlaže smrt. Razumljivo, tako „moćan“ polaže puno pravo i na sav živi svijet oko sebe, primjenjujući svoje klišee
i nove formule života na svoje ljubimce.
Sugar free, is a non-sweetened story about a new
social order, dominated by various deviations
of the modern society in which life in harmony
with nature and its rules is decreasingly possible.
In this general disarray, where many systems of
values have been fundamentally shaken up and
devoid of elementary emotions, every kind of
addiction and slavery is sold for “freedom“.
It is exactly for this reason that I play with man
who thinks he is God.
In his journey from the works of Renaissance, with
their perfectly proportioned physiques (sketch
according to Vitruvius, by Leonardo da Vinci) to
the “new aesthetics“ of the modern age, my man
dissolves and loses his identity. “Almighty“ and
haughty, he lives his illusion. He belives that by
possessing a exaggerated, plastic body he obtains
a divine power to defy the process of aging and
postpone death. Quite understandably, being so
“powerful“, he claims the right to the entire living
world that surrounds him, applying his clichés
and new formulas to his pets.
Milena Jovićević Popović
Milena Jovićević Popović, Installation view
Presentation
GRAD U PARKU | THE CITY IN THE PARK
Cetinje Njegošev park | Cetinje Njegoš᾽s park, 2007.
Izložba Foto – memorija – Njegošev park – rekonstrukcija sreće (kad sam bio/bila mali/mala, veliki/velika) –
fotografije iz ličnih albuma građana Cetinja i video rad “Video priče-arhiviranje Njegoševog parka”. Izložba je dio
projekta “Grad u parku” a realizovalo je Udruženje studenata FDU Cetinje i studenti III godine produkcije FDU
Cetinje. U okviru projekta održana su predavanja Milene Dragićević Šešić, Prepleteni identiteti i skriveni prostori
privatnosti: Park mesto stvaralaštva, reprezentacije i ličnih radosti i Janka Ljumović, Umjetnost i zajednica, novi –
stari oblici susjedstva.
Exhibition Photo–Memory–Njegoš park – Reconstruction of happiness (when I was little, big) – photographs
from personal photo albums of citizens of Cetinje and video “Video stories – archives of Njegoš’s park. Exhibition
was part of the project “The City in the Park” realized by Student’s Association from the Faculty of Drama Art and
student of 3rd year of Production from the Faculty of Drama Arts Cetinje. Within the project lecturies of Milene
Dragićević Šešić, Twisted Identities and Hidden Spaces of Privacy: Park Place of Creation, reprezentation and
Personal Joys and Janko Ljumović, Art and Community, New – Old Forms of Neighborhood.
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2009
ALEKSANDAR BERKULJAN I TATJANA JOVIĆ
DAVID ECKARD
ALEKSANDAR RAFAJLOVIĆ
MIRKO RADONJIĆ
IVAN KAPIČIĆ
MIODRAG ĐURIĆ DADO
BRANIMIR KARANOVIĆ
ORIJENTACIJE
LIKOVNI SALON 13. NOVEMBAR
LAZAR VOZAREVIĆ
April – May
DUH MODERNOG DOBA NA DVORU
SPIRIT OF THE MODERN ERA ON THE COURT
Iz fonda Princeze Ksenije, Pazar drva, tonirani stereoskopski dijapozitiv, oko 1910
From the fund of Princess Xenia, Wood Market, coloured stereoscopic diapositive, ca 1910
Kolekcija foto albuma u fondu Narodnog muzeja Crne Gore na Cetinju predstavlja prvorazredno vizuelno
svjedočanstvo o životu vladarske porodice Petrović Njegoš, Crnoj Gori toga doba, njenim kulturnim prilikama,
istorijskim događajima, ličnostima i državničkim i političkim aktivnostima dvojice poslednjih crnogorskih suverena
– knjaza Danila I i Nikole I. Istovremeno kolekcija čini evidentnim napore da se uprkos ratu kao konstantni,
teškom ekonomskom stanju i borbi za golu egzistenciju, novom skupom vizuelnom mediju ipak da šansa da zaživi
i u Crnoj Gori, što je vrijeme svakako opravdalo.Prvi koji je pokazao interesovanje za tehnologiju optičkog zapisa
ili, kako je sam govorio „skidanje obraza“, bio je nadvremeni vizionar i duhovnik Vladika Rade, u periodu samog
začetka fotografije (1839. i 1840. godine nastaju Dagerotipije i Talboovi kalotipi).
The collection of photo albums in the National Museum of Montenegro, Cetinje, represents a first-class visual
tesimony to the life of the Petrović Njegoš ruling dynasty, Montenegro of the day and its cultural circumstances,
historical events and figures, as well as state and political activities of the two last Montenegrin sovereigns – prince
Danilo I and Nikola I. At the same time, the collection illuminates the efforts made to give a chance to this costly
visual medium to start its life in Montenegro, too, notwhitstanding was as a constant, harsh economic conditions
and the struggle for the bare necessities of life.The first person to show interest in the optical recording technology
was the timeless visionary and ecclesiastic Bishop Rade, in the period when photography was still in its infancy (in
1839 and 1840 Dagerotype and Talbot’s Calotype were invented).
Tatjana Jović & Aleksandar Berkuljan
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Nepoznati autor, bez naziva, dagerotipija, početak druge polovine XIX vijeka
Anonimous, withhout title, Dagerotype, begining of the second half of XIX century
Installation view, Foto | Photo: Aleksandar Berkuljan
May – June
DAVID ECKARD
Opsenarija | Prestidigitation
Izložba i prezentacija | Exhibition and presentation
Umjetnik je čitavu izložbu poklonio Narodnom muzeju | The artist has donated the whole exhibition to the National Museum
Na stotine amaterskih fotografija sakupljenih sa rasprodatih imanja, iz rasturenih porodica i napuštenih istorija
bilo je izmiješano po kutijama na uličnom sajmu u Berlinu. Njihova cijena zavisila je od formata i starosti tako da
istorijski sadržaj nije imao veći značaj od privatnog, pri čemu je rođendanska proslava koštala jednako koliko i
vojna formacija u pokretu. Pretražio sam ovu anonimnu arhivu i kupio deset slika.
Fotogfrafije su ili namješteni prizori ili, pak, zapisi o ljudima koji su bili svjedoci nečem posebnom, neobičnom
ili jedinstvenom: žestokoj sniježnoj oluji, postavljanju masivnog crkvenog zvona, dječijoj pozorišnoj predstavi,
radnicima koji pregledaju neku okrnjenu konstrukciju, borbu za nadmoć. Svaki od ovih snimaka predstavljaju
tajanstvenu zagonetku istovremeno postavljenu na raznim jezicima. Akteri su nepoznati, lokacije neodređene, dok
značaj dokumentovanog događaja izmiče. I upravo ovi čudni događaji i zaustavljene dramske predstave nastavljaju
da privlače moju pažnju i da me zbunjuju.
Hundreds of amateur photos culled liqudated estates, broken fammilies and abandoned histories were stuffed into
boxes at a street fair in berlin. They were priced by size and age and the historic relevance carried no more currency
that the personal with a birthday celebration costing the same as an advancing military formation. I picked through
this anonymous archive and bought ten images.
The photos are either staged, performed acts or the record of people witnessing the particular, uncanny or unique:
severe snowfall, coronation of a massive church bell, children’s theatre production, workers inspecting a truncated
structure, tug of war.
Each of these shots is an enigmatic riddle simultaneously posed in multiple languages. The players are unknown,
the locations ambiguous and the imapct of the documented event remains elusive. It’s these peculiar incidents and
paused theatrics that continue to engage and confound me.
David Eckard
Tokom rezidencijalnog boravka umjetnik je namjenski
koncipirao izložbu za prostor Ateljea Dado, a na prezentaciji
je govorio o svom dosadašnjem umjetničkom opusu koji
obuhvata, video, performanse, skulpture...
During his residencial stay the artist has made the exhibition for the gallery Atelje Dado, and during his presentation he
spoke about his other works that include video, performance,
sculpture…
Foto | Photo: Zorica Petanović
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Video still
David Eckard, Installation view
June – July
ALEKSANDAR RAFAJLOVIĆ
Osnovna podela | Basic Division
Izložba i prezentacija | Exhibition and presentation
Izložba je komponovana kao presjek desetogodišnjeg stvaralaštva, i sadrži djela iz nekoliko ciklusa, o kojima je bilo
više riječi tokom prezentacije.
Na fotografijama, „fotografijama-slikama“, kreativnu energiju usmjerava ka otkrivanju svijeta oko sebe kroz govor
stvari koje posjeduju unutrašnju energiju i optički ritam. Od onih koje pripadaju kultu nedodirljivih tabua i misteriji
strahopoštovanja, do jednostavnih, prozaičnih stvari na kojim, umjesto duhovnog, potencira „slikarske“ vrijednosti.
Na njegovim fotografijama elementi strukture i kolorističke orkestracije konceptualne reference usmjeravaju
ka apstrakciji. O tome govori i sam umjetnik koji svoje djelo predstavlja kao „Omaž velikanima bojenog polja od
Kandinskog do De Kuninga“.
Po principu total-detalj, tipičnim za masovne vizuelne komunikacije, on kadrira istoznačne predmete ili prostore,
i njihovom simbiozom u jedinstvene kompozicijske cjeline formira poliptihe eskrpesivne saržine, sinhronih
perceptivnih senzacija i jasno artikulisanih likovno-plastičnih vrijednosti. Njegovo stvaralaštvo je apriorno nadgradnja
postojećeg.
The exhibition has been composed as section of last 10 years in his creative work, which have been introduced during
the presentation.
In photographs, or “photo-paintings“, the artist directs his creative energy towards discovering the world around him
through the voice of objects which possess internal energy and optical rhythm: from those which belong to the cult of
untouchable taboos and the mystery of awe, to the simple, prosaic things in which instead of spiritual, he accentuates
“painting“ values. In his photographs, the elements of structure and colouristic orchestration of conceptual reference
turn us to abstraction.
This has been emphasized by the artist himself who presents his own work as “ Homage to the masters of coloured
field from Kandinsky to De Kooning“.
Applying the total-detail principle, typical of mass visual communications, the author zooms in on monosemic
objects or spaces, and in their unique symbiosis, he creates polyptychs with expressive content, synchronic perceptive
sensations and clearly articulated formal values. His creative work, a priori, is a superstructure of the existing
objects.
Ljiljana Zeković
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Aleksandar Rafajlović, Installation view
July
MIRKO RADONJIĆ
Slika. Medij slike. Prostor. Prostor-slika. Prostor slike.
Painting. Painting Milieu. Space. Space –Painting. Space of the Painting.
Druga slika, detalj
Second painting, detail
Slika koja je pred Vama sastoji se od dva komada platna dimenzija ~150 x 400
cm. Platno je nepreparirano i impregnirano lazurima disperzije polivinilacetata, što je omogućilo boji da prolazi kroz platno, odnosno da prodire na
drugu stranu. Na taj način slika dobija svoj inverzni odslik, koji međutim
ne funkcioniše po ogledalnom principu, već predstavlja piktoral unutrašnjeg
tkanja slike. Ovakva slika postaje objekat (iz 2D u 3D). Uvodeći još jedno
platno, španujući ih zajedno, slika ekspandira na četiri sloja.
Ono objektno postaje tek u vremenu sagledivo prostorno, čime se uvodi i
četvrta dimenzija. Situacija navodi posmatrača da se kreće oko slike, u jednom
trenutku čak i faktički se krećući unutar slojeva slike. Uz nemogućnost izstupanja van njenog polja, a u aktivan ko-relacijski odnos sa slikom.
Slika je o svemu. A sve je slika svijeta. Kako posmatrač u sebi nosi materijal
svog (svôg) svijeta, bilo je neophodno zahvatiti u suštinu onoga što znači biti
čovjek, odatle tražeći ključeve za otvaranje prolaza u svijet.
The picture that is in front of You consists of two pieces of canvas, their
approximate size being 150 x 400 cm. The canvas is unprepared and impregnated
with polyvinyl acetate dispersion, which enables the paint to penetrate the
canvas, however, does not function on the mirror principle but represents an
integral process of the wave of the picture. Such a picture becomes an object
(from 2D to 3D). Through the introduction of another canvas, stretched
together with the first one, the picture expands across four layers.
Druga slika, detalj
Second painting, detail
Prva slika, detalj
First painting, detail
It is only in time that the object dimensions becomes noticeable in spatial terms, whereby a fourth dimension is
introduced. The situation forces the viewer to move around the picture, in one moment even moving within the
layers. Having no possibilty of establishing an active co-relational relationship with the picture.
The picture is about everything. And everything is all of the world. As the viewer carries the material of his/her own
(entire) world, it was necessary to delve into the essence of being a man, and from that point look for the key to open
the passage into the world.
Mirko Radonjić
August
IVAN KAPIČIĆ
Traženje | The Search
Sjajna, glatka površina, magičnost koju isijavaju ove forme (od svega desetak centimetara visine) sugeriše
atmosferu tihe, uzvišene ceremonijalnosti, savršene harmonije, zenovske jednostavnosti. Kamen je shvaćen kao
simbol prirode, a umjetnikovo sadejstvo sa njim doživljeno kao metafora za „ljudsku konfrontaciju temporalnom,
ukrštanje sa istorijskim, geološkim i astronomskim pojmom vremena“.
Osnovni oblik-jezgro, koji predstavlja izvorište za ostale kompleksne formeje sugestivno prosječen po sredini
sa bočnim mesnatim površinama, ali sa snažnim „kičmenim stubom“ kojim se potencira elastičnost materijala.
Sugestivnost ove forme navodi na pomisao da je ona ta koja doslovno iznjedruje ostale tanane, „paučinaste“, a
zapravo čvrste oblike, koji se pod različitim djelovanjem mijenjaju, postaju tanji, laganiji, prozračniji, pokretljiviji
i življi. Dodatna snaga i upečatljivost postignute su odabirom formata, što je nametnulo minuciozni, skoror
filigranski tretman.
The glossy, smooth surface, the miraculous magic emanating from these forms (a mere 10 or so centimetres in
height), suggests the atmosphere of tranguil, noble ceremonial, which is characterized by perfect harmony and
Zen-like simplicity. The stone is seen as a symbol of nature, whereas the artist's co-action with it is viewed as a
metaphor for “human confrontation with the temporal; crossing with the historical, geological and astronomical
notion of time. “
The core as the basic form, which represents the source
of other complex forms, has been suggestively cut in the
middle with fleshy side surfaces, but with a strong “spinal
column“which accentuates the elasticity of the material.
Its suggestiveness provokes the thought that it is this form
that literally gives birth to other subtle, “cobwebby“, and
yet strong forms, which, subject to diverse kindsof action,
change, becoming thinner, lighter, airier, more swift and
agile.Additional strenght and impressivenesshave been
achieved by the choice of the format, which has imposed
the minute, almost filigree treatment.
Mirjana Dabović Pejović
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August – September
MIODRAG ĐURIĆ DADO
Poklon Iva Đurića | Gift of Ivo Đurić
Na ovim, kao i drugim Dadovim slikama, suočavamo
se sa fantazmima jedne sintetizovane simbolike u kojoj tražimo dublja, skrivena značenja.
Međutim, ono što dovodi u dubinsku vezu ove
radove predstavlja smijeh pomiješan sa tjeskobom,
ono groteskno u njemu što čulno, duševno i duhovno
pomjera ka nadčulnom i izvanljudskom.
Čak i razigrani, nemirni i naivno-fantastični svijet
koji nastanjuje Ivovo djetinjstvo postao je dio
zahuktalog točka jedne pomjerene stvarnosti. Đaci,
školska zgrada i njen inventar, igračke, predstavljeni
kao narušen i haotičan red stvari, povezani su sa
nepoznanicama jednog krhkog svijeta koji u dječijoj
mašti dobija irealne dimenzije. Djeca i igri, u školi,
vragolani i knjiški moljci defini-sani karikiranim
izrazima lica reflektuju čitav kaleidoskop osjećanja:
veselost, naivnost, nježnost, prgavost, pakost... Njihova
tijela sa deformacijama infantilne jednostavnosti, lebde
u jednom izdvojenom „limbu“, u jednoj vanvremenskoj i vanprostornoj praznini.
In these, as well as Dado’s other paintings, we face
the phantasms of synthetised symbolism in which
we search for more profound, hidden meanings.
However, what creates a profound link between
these works is laughter blended with anxiety, the
grotesque in it that shifts the sensual, mental and
spiritual to the supra-sensual and supra-human.
◀ Ivova škola, diptih na oslikanim vratima
Ivo's School, diptych on painted doors, 2004.
▶ Crkvenjak, ulje na drvetu | Sexton, oil on wood, 2003-2007.
Even the palyuful, mischievous and naively fantastic world inhabiting Ivo’s childhood has become
part of the running wheel of a shifted reality.
Schoolchildren, the school and its inventory, toys,
presented as a disrupted and chaotic order, have
been connected with the unknown of a fragile
world which in children’s imagination gains irreal
dimensions. Children at play, at school, scamps
and bookworms defined by caricatured facial
expressions reflect a whole kaleidoscope of feelings:
gaiety, naivety, tenderness, temper, malice... Their
bodies with deformities of infantile simplicity float
in a separated “limbo“, in a timeless and spaceless
void.
Ljiljana Zeković
Mirjana Dabović-Pejović, Pavle Pejović
direktor Narodnog muzeja Crne Gore
Director of the National Museum of Montenegro
Foto | Photo: Zorica Petanović
September
BRANIMIR KARANOVIĆ
Fotografije | Photographs
Izložba i prezentacija | Exhibition and presentation
Umjetnik je po završetku izložbe poklonio radove Muzeju | After the exhibition closure the artist donated the works to the Museum
U svom poslu Karanović je obradio tipologiju društvenog mentaliteta. On je
izradio estetski, psihološki i ideološki profil ovog naroda, zabeležio modele
njegovih etičkih i estetskih kapaciteta, radnih sposobnosti i vrlina, te našoj istoriji
i istoriji umetnosti ostavio bogatu ostavštinu za budućnost umesto one koja je u
svom padanju sa društvenog pijemota do buvljačkog blata jednostavno nestala.
Fokusiran na sam predmet i njegovu promenjenu estetiku, simboliku i značenje,
Karanović je dugo godina razvijao uzbudljivi doživljaj specifičnog foto-safarija da
bi se u jednom trenutku zamislio i raširio pogled na totalni prizor.
Očigledno, nešto se promenilo. Dramatično uzbuđenje pri otkrivanu „raritetnih“ predmeta promenjenog ili izvitoperenog značenja, te nužna estetizacija
konteksta prolaskom kroz medijski transformator, u jednom trenutku su počeli
da prekrivaju oštre i ironične poruke koje su svakako neodvojivi i bitan sastavni
deo autorovog dela.
In his work, Karanović has defined the typology of social mentality. He has
created the aesthetical, psychological and ideological profile of the peole,
recorded the models of their ethical and aesthetical capacities, work capabilities
and virtues, and left to our history and art history a rich legacy for the future
instead of the one which has simply vanished falling from the social piedmont
to the flea market mud.
Focused on the object itslef and its altered aesthetics, symbolism and meaning,
for many years Karanović developed an exciting experience of a specific photosafari, only to stop to think at one moment and extend his view to the complete
sight. Obviously, something changed.
Dramatic excitement at revealing the “rare“ objects of changed or distorted
meaning, as well as the unavoidable aesthetization of the context in the passage
through the media transformer, at one point began to cover the scating and
ironical messages which are certainly an inseparable and integral part of the
author’s work.
Slavko Timotijević
Pejzaž od staniola | Landscape of silver foil, Podgorica, 2002
Biste | Busts, Novi Beograd, 2009
Surogat | Surrogate, Beograd, 2009
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Branimir Karanović, Installation view
October
ORIJENTACIJE I | ORIENTATIONS I
Izložba radova studenata FLU Cetinje i Visoke Umjetničke škole iz Meca
Aleksandra Aleksić
Rachel Carey
Alain Colardelle
Anais Rossi Y Costa
Maja Čakalović
Zdravko Beli Delibašić
Adriana Gvozdenović
Mišo Joskić
Guillaume Lemuhot
Tanja Markuš
Se-Lyung Moon
Teodora Nikčević
Loic Le Verche
Sophie Zwingelstein
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Exhibiton of works of students from the Faculty of Fine Arts Cetinje and Ecole Supérieure d' Art, Metz Métropole
November
XXXI CRNOGORSKI LIKOVNI SALON 13. NOVEMBAR
XXXI MONTENEGRIN ART SALON 13. NOVEMBER
U okviru aktuelnih umjetničkih teorija neophodno je imati na umu razlike između
statusa figure u predmodernizmu, modernizmu i postmodernizmu.
(...) Ideja koncepta ovogodišnje cetinjske izložbe predstavlja pokušaj prezentacije
figure i figuralnog u crnogorskoj aktuelnoj art produkciji u okviru sva tri, kratko
opisana modaliteta figuralnog izražavanja. Preko, najvećim dijelom, tradicionalnih likovnih tehnika na XXXI Salonu personalnu poetiku figure i figuralnog
prezentiraju 27 autora različitih vokacija i umjetničkih temperamenata - neki već
sa zavidnom afirmacijom, drugi na početku profesionalne karijere.
Within actual art theories it is necessary to have in mind diferences between the
status of figure in period before Modernism, Modernism and Postmodernism.
(...) The idea about the concept of this year's Cetinje exhibition present the attempt
to introduce the figure and figuration in Montenegrin actual art production
within all three shortly described moduls of figural research. Through, in most
part, traditional art techiques in XXXI Salon personal poetics of figure and
figurative by 27 authors of different vocations and artistic temperaments have
been presented - some of them already affirmed, and some at their professional
begginings.
dr Aleksandar Čilikov
Admir Bambur
Marko Čakalović
Maja Čakalović
Relja Dedeić
Zdravko Beli Delibašić
Draško Dragaš
Roman Đuranović
Vladimir Đuranović
Anka Gardašević
Ana Zarubica
Milena Živković
Milijana Istijanović
Milena Jovović
Ivan Kapičić
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Zorica Lakić
Momčilo Macanović
Ratko Odalović
Zoran Petrušić
Ljubomir Popadić
Milena Jovićević Popović
Ivana Radovanović
Igor Rakčević
Biljana Rašković
Zeljko Reljić
Saša Stanišić
Olivija Ivanović Strugar
Maja Šofranac
December
LAZAR VOZAREVIĆ
Iz fonda Umjetničkog muzeja – Zbirka Vukmanović
From the fund of the Art Museum of Montenegro –Vukmanović Collection
(...) Ovaj izraziti slikar figuracije postaje apstraktan. Ikonopisni hermetizam i iracionalnost dobili su odraz u zagasito-mrkim i zlatnim kolorističkim
površinama koje razbija mistična svjetlost rembrantovske provenijencije.
Patina koju je nataložilo vrijeme prekrila je njegove slike na kojima se
zgušnjavanjem i razrijeđivanjem kolorističkih lazura i imapsta stvorila
čarobna igra beskraja i neuhvatljivosti, kao na slikama Razbijena forma i
Crvena svjetlost.
Tražeći nov izraz umjesto iluzije materijalnih tragova prošlosti on unosi
prave materijale: žice, kamenje, pijesak... njegov enformel je karakterisalo i
apliciranje metalnih elemenata kojima realizuje geometrijske kompozicije,
kao Dijagonala koju osmišljava gusto raspoređenim nitnama.Vozarevićevo slikarstvo figurativnog i apstraktnog prosedea kojim je uspio da
poveže tokove savremene umjetnosti sa tradicionalnim vrijednostima,
vječnost sa prolaznošću, racionalnost sa misticizmom, fantaziju sa
stvarnošću, predstavlja izuzetan primjer logičkog i nemirnog stvaralačkog puta umjetnika koji nas plijeni svojim raznovrsnim i likovno
snažnim djelom.
(...) This figurative painter will turn to abstract art. The hermetism and
irrationality of icon-painting are reflected in dark brown and golden
surfaces broken by the mystic, Rembrandt-like light. The patina
developed in time coat his paintings in which a magic play of infinity
and elusiveness is created in the thickening and dilution of colouristic
layers of paint, like in the paintings The Broken Form and Red Light.
Looking for a new expression instead of the illusion of the material
traces of the past, Vozarević employs authentic materials: wire, stone,
sand... His Art Informel is also characterized by the application of
metal elements with which he creates geometrical compositions,
such as The Diagonal designed with densley distributed light.
Vozarević’s figurative and abstract painting, with which he managed
to connect contemporary art trends with traditional values, eternity
with transience, rationality with mysticism, fantasy with reality, is an
outstanding example of a logical and wandering creative path of an
artist who captivates with his diverse and artistically strong work.
Ljiljana Zeković
Crveno svetlo, kombinovana tehnika na platnu
Red Light, mixed media on canvas
Dijagonala, kombinovana tehnika
Diagonal, mixed media
Presentation
Emile Devereaux
EMILE DEVEREAUX gost predavač na predmetu
Interaktivni dizajn na FLU Cetinje, video umjetnik
je u saradnji sa učenicima O.Š.Njegoš održao radionicu na Cetinju i Rijeci Crnojevića, a na prezentaciji
u Ate ljeu govorio je o svom radu.
Emile Devereaux, guest lecturer teaching Interactive
Design at the Faculty of Fine Arts, video artist has
realized workshop with pupils from the elementary
school Njegoš in Cetinje and Rijeka Crnojevića, and
during his presentation in the Atlje Dado has spoken
about his works.
SASTANAK ICOM SEE
ICOM SEE MEETING
Godišnji sastanak na kome su učestvovali predstavnici nacionalnih ICOM komiteta iz Srbije, Hrvatske,
Makedonije, Rumunije, Bugarske, Albanije i Crne
Gore.
Annual meeting of participants from National ICOM
Committees from Serbia, Croatia, Macedonia, Romania, Bulgaria, Albania and Montenegro.
Učesnici | Parcitipants
Maja Franković, Mirjana Brzanović, Branislava Mihajlova, Zaharinka Bačeva, Jan Kisgeci, Gorjanka Horjan, Ljiljana Zeković, Virgil Nitulescu, Mila Popović Živančević,
Vlatka Filipčić Maligec, Ilirijan Djipali
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2010
IVANA PEJOVIĆ
MILIJA PAVIĆEVIĆ
LINDA ADELE GOODINE
HOLOGRAFIKA
IGOR JOSIFOV
BLAŽO KOVAČEVIĆ
GORDANA KUČ
MIODRAG B. PROTIĆ
IRENA PASKALI
April
IVANA PEJOVIĆ
“1=1 [0tJY];1.8”
Stare, neupotrebljive stvari, novčići iz raznih zemalja i vremena, i čipka.
Jestivi ukrasi za tortu, sitnih crvenih pupoljaka oko glave sv. Nikole, i čipka. Šljokice, prljava binta, ukrasne nitne,
polomljene igračke, i čipka. Zubne proteze, lišće indijske konoplje, značke iz vremena socijalizma, fotografije
usnule drage osobe, i čipka. Citat iz Fausta, i čipka. I sve to nalijepljeno, ugrađeno u (na) sliku.
Neću da vam se dopadnem, čini mi se da upravo to želi da kaže Ivana Pejović izborom radova i koncipiranjem ove
izložbe. I kao da kaže: Hoću da vam ispričam priču o Nastanku, Trajanju i Nestanku.
Od „čedne“ bjeline do grobljanskog kiča.
Old, unusable things, coins from various countries and times, and lace. Edible cake decorations, tiny red buds
around St. Nicola’s head, and lace. Tinsel, a filty band, decorative pins, broken toys, and lace.
Dental braces, Indian hemp leaves, badges from the Socialist era, photos of a sleeping loved one, and lace.
A quote from “Faust“, and lace. And all this adhered or build into (or onto) a painting.
I don’t want you to like me, Ivana Pejović seems to be saying by the selection of works and the overall concept of
the exhibition. As if saying: I wish to tell you the story of the Creation, Existence and Disappearance.
From the “chaste“ white to the graveyard kitsch.
Ljubomir Đurković
Proticanje, 8 ikona (sa greškom)
vosak i upotrebni predmeti
Passing, 8 icons (with eror),
vax and objects, 2005-2010.
Nastajanje, 18 asamblaža | Becomming, 18 assamblages, 2006–2010.
May – June
MILIJA PAVIĆEVIĆ
A.P.M.D. 2003
Umjetnik je čitavu izložbu poklonio Narodnom muzeju | The artist has donated the whole exhibition to the National Museum
I ova cetinjska izložba „A.P.M.D.“ u Ateljeu Dado, nova Pavićevićeva
mandala, njegova nova quadratura circuli, sastavljena od četiri serije
fotografija, naslovljena sa četiri početna slova imena četiri ličnosti koje se
pojavljuju kao protagonisti jedne od ovih serija. Drugu stranu ove mandale
predstavlja fotografija cetinjskog parka sa četiri umetnuta Maneova
„Flautista“, treću serija sa rascvjetalnim trešnjama i četvrtu niz prizora istog
cetinjskog parka pod snijegom. „Na ovoj mojoj izložbi nema nikakve graje“,
reći će mi, nedavno, Milija Pavićević, sad već ne tako ćutljiv i suzdržljiv
kad o svom radu treba da govori. No, nedostatak „graje“ nije umenjio
„dramu“, nije suspendovao onaj njegov temeljni iskaz da „bez drame nema
umjetnosti“, koji sam navodio i ranije, kao i na početku ovog teksta. Drama
je na ovoj izložbi samo formalno „smirena“, neurotični subjekt, nelagoda
bića u svijetu, ekstaza i „estetika bola“ ovdje su potisnuti i primireni u ime
melanholično-lirskog subjekta, čiji smiraj ide u susret samoj fotografiji
kao melanholičnom, memento mori predmetu. Iz dramskog kruga smrti,
svejedno izlaza nema.
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A.P.M.D. exhibition in Cetinje, in the Dado Atelier, Pavićević’s new mandala, his new quadratura circuli, comprises
four series of photos, its title featuring four initial letters of names of four persons appearing as protagonists in
one of these series. The other side of this mandala is a photo of a park in Cetinje with four Manet’s “Flutists”; the
third is a series with flowering red cherries; finally, the fourth is a series of sights from the same park under the
snow. “There’s no noise in this exhibition”, Milija Pavićević has recently told me, no longer so silent and reticent
when he is supposed to speak of his work. However, the absence of “noise” did not diminish the “drama”; it did
not contradict his fundamental statement that “there is no art without drama”, which I have quoted before, at the
beginning of this text, too. In this exhibition, the drama is only formally “eased”; the neurotic subject, the anxiety
of the being in the world, ecstasy and the “aesthetic of pain” are suppressed here in the name of the melancholic
and lyric subject whose appeasement moves towards the photograph itself as a melancholic, memento mori object.
From the dramatic circle of death there is no way out anyway.
Petar Ćuković
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June – July
LINDA ADELE GOODINE
Gibson Lemon
Izložba i prezentacija | Exhibition and presentation
Kao spektakl, žetva je slavlje koje prepoznaju seoski
vašari i bogate pijace. Ona je istovremeno i slavljeni
način života koji povezuje savremenu kulturu sa
ranijim poljoprivrednim kalendarom godišnjih doba.
U fotografiji, medijumu kojim se bavim, otkrila sam
da zidna slika o aspektu slavljenja govori rječitije i
naglašenije uvećavajući razmjer predstave. Ona
takođe ruši tradicionalno niski hijerarhijski rang
mrtve prirode tako što uvećava dimenzije do
onih karakterističnih za akademsko istorijsko
slikarstvo. Predmeti posmatranja, prostrani pejzaž
karakterističan za mjesto i srednji plan (kultura)
prostor je djelovanja i aktivnosti. Ovo je područje
kojem se mijenjaju granice, gdje čovjek manipuliše
i pokušava da kontroliše, kolonizuje i kupi plodove.
To je taj granični prostor koji sugeriše naraciju
i poziva moju publiku da preispituje i promišlja
dijalektiku želje za razvojem i istovremeno čežnju
da se sačuva bašta.Veza sa mitom o protjerivanju iz
raja ostaje vidljiva.
Umjetnica u galeriji | Artist in the gallery
As a spectacle, the harvest is a celebration, recognized by country fairs and bountiful markets. It is also an honored
way of life connecting contemporary culture to an earlier agrarian calendar of the seasons. In my medium, the
photograph, I have found that the mural image speaks most eloquently and emphatically to this celebratory quality
by elevating the scale of presentation. And it also subverts the traditional low hierarchic rank of the still life by
spending its dimensions to that of the academic history painting. The objects of observation the sweeping landscape
specific to place, and the middle ground (culture) is the space of action and activity. This is a shifting ground where
man manipulates and attempts to control, colonize and reap. It is that liminal space that suggests narrative and
invites my viewers to question and consider the dialectic of wanting development, yet at the same time yearning to
preserve the garden. There remains a palpable connection to the myth of the expulsion from Eden.
Linda Adele Goodine
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Linda Adele Goodine, Installation view
July
Holografika | Holographics
Termini hologram, holografija i slično su složenice nastale od grčkih riječi holos-cijeli, grammaporuka i grafe-pisati, a odnose se uglavnom na
statični trodimenzionalni prikaz predmeta i
specifične tehnike za njegovo generisanje.
Od 1947, kada je mađarski fizičar i nobelovac Denis
Gabor napravio prvi snimak te vrste, koristeći
fotografsku ploču eksponiranu filtriranim snopovima svjetlosti živinog električnog luka, tehnologija je
brzo napredovala, tako da je početkom šezdesetih,
sa pojavom lasera kao mnogo stabilnijeg izvora
koherentnog svjetla, holografija dovedena do perfekcije, dobivši i prvu
komercijalnu primjenu. Danas holografsko snimanje nije ograničeno samo
na fotoosjetljive materijale, već se 3D prikazi laserom generišu na različitim
podlogama, zavisno od želja i mogućnosti.
... Projekcije za izložbu ili, bolje reći, prezentaciju pod nazivnom Holografika,
jesu autorov rad, međutim, nemaju za cilj predstavljanje nekog umjetničkog
dostignuća na nivou kompjuterske grafike, čiji su dometi veoma dobro
poznati konzumentima informacionih tehnologija.
The terms hologram, holography and the like are compound words derived
from the greek words holos-whole, gramma-message and grafe-write; they
mostly refer to the static three-dimensional representation of an object and
specific techinque for its generation. After 1947, when the Hungarian physicist
and Nobel prize winner Dennis Gabor made the first shot of the kind using
a photographic plate exposed to the filtered beams of light of the murcury
electric arc, the technology advanced rapidly; thus, in the early 1960’s with
the appearance of the laser as a much more stable source of coherent light,
holography was brought to perfection, developing its first commercial
application. Today, holographic shooting is not restricted to photo-sensitive
materials: 3D laser representations are generated on various plates, depending
on one’s wishes and means.
... Projections for the exhibition or, even better, presentation entitled Holographics, are the author’s work; however, they are not aimed at displaying artistic
achievments in computer graphics, whose scope is well-known to IT users.
Aleksandar Berkuljan
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Aleksandar Berkuljan
August – September
IGOR JOSIFOV
Manumission | Face it
Na izložbi Suoči se (Face it), tijelo koristim kako bih prenio iskustva koja sam u djetinjstvu imao sa makedonskim
društvom. Prepravio sam konjske naočnjake prilagodivši ih ljudskoj glavi i prekrio ih sagorjelom ikonografijom
hrišćanske i muslimanske vjere. Kad su se ove dvije slike postavile jedna naspram druge, tenzija u prostoru između
dvije vjere bila je vidljiva i opipljiva.
Tokom performansa Proces pročišćavanja (Purification process), iz tijela i uma izbacujem uticaje iz prošlosti,
mišljenja i moralne standarde drugih ljudi kao matafora potrebe da se nađe svoje istinsko biće.
U Prekinutoj umjetnosti (Art, interrupted) tijelo postoji u očima posmatrača jer je, usljed nezgode, tijelo umjetnice
(Renata G) spriječeno da izvede performans. Energija prostora postala je metafora za njeno tijelo i za to kako uticaj
njenog produženog umjetničkog djelovanja dovodi ljude do introspektivnog stanja u sebi.
Indoktrinacija II, nagoreli papir
Indoctrination II, burned paper
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In the exhibition, “Face it“, the body is used to communicate my childhood experiences with Macedonian society.
I adapted horse blinders for a human head and covered them with burned iconography of Christian and Muslim
religions. When these two images were installed facing each other, the tension in the space between two religions
was visible and more literal. During the performance, “Purification process“ I’m cleaning past influences, other
people’s opinions, and moral standards from the body and the mind as a metaphor for a person’s need to find their
true self. In“Art, Interrupted“, the body exists in the eyes of the viewer because the artist’s (Reneta G) body was
interrupted from doing a performance by an accident. The energy of the space became a metaphor for her body
and how the continued influence of her artworks brings people inside to an introspective state.
Igor Josifov
September
BLAŽO KOVAČEVIĆ
Probe
Instalacija naslovljena Probe metaforički govori o savremenoj kulturi straha kojom je prožet neprestani rat protiv
terora. Kovačević uvodi ključna moralna pitanja koja se tiču ukidanja ličnih sloboda zarad kolektivne bezbjednosti.
Sa ciljem da otvori diskusiju o implikacijama koje nadziranje ljudi nosi sa sobom, umjetnik postavlja scenu u jedinom
prostoru u kojem može da ima kontrolu – u galeriji. U njoj, poziva publiku da uzme učešće u njegovoj dirigovanoj
aktivnosti. Kako bi posmatrača učinio svjesnim koliko je neprijatno biti pod kontrolom, Kovačević jasno označava
granicu kretanja unutar prostora galerije. Učesnici se mogu kretati isključivo onim putanjama koje je umjetnik
propisao. Ograničavajući slobodu kretanja unutar galerije, Kovačević se poigrava sa pojmom moći i kontrole. Ova
smišljena umjetnička strategija podsjeća me na francuskog filozofa Mišela Fukoa i njegova dalekovida zapažanja o
prirodi zapadne moderne civilizacije...
The installation titled Probe metaphorically speaks about the contemporary culture of fear that permeates the perpetual
war on terror. Kovačević is implying crucial moral queastions regarding the renunciation of persoal freedoms for
the sake of collective safety. In order to open a discussion on the implications of monitoring people, the artist sets
the stage within the only space he can assert control-the gallery. In it, he invites the audience to participate in his
orchestarted action. In order to make his viewers aware of the discomforts of being controlled Kovačević is clearly
delineating movement within the gallery space. One can go only the direction prescribed by the artist. By limiting the
freedom of movement within the gallery, Kovačević is playing with the notion of power and control. This deliberate
artistic strategy reminds me of French philosopher Michel Foucault’s frightened insights about the nature of Western
modern civilization...
Jovana Stokić
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Pink friz, digitalna štampa na polikarbonatu | Pink Frieze, digital print on Illusion film, 2010.
Blažo Kovačević, Installation view
October
GORDANA KUČ
The Time is Now
Umjetnica je po završetku izložbe poklonila radove Muzeju | After the exhibition closure the artist donated the works to the Museum
Spirala je analogija prirodnih formi kretanja ali i gibanja univerzuma, u različitim civilizacijama i kulturama
simbol je života, a Jung je smatrao da ima i religiozne reference. Sva ta polimorfna i izukrštana značenja spirale
mogu emanirati one na kvadrima – objektima Gordane Kuč. Međutim, čini se da je generiranje radova s bitno
različitih pozicija – vrlo intimno preispitivanje sopstva, lišeno pretencioznosti, bez patosa, velikih priča, retorike,
narativnosti. Elementi rada The Time is Now slikani su na platnu, četkom i prstima, različitog intenziteta i tonaliteta
složene ljubičaste boje. Spirale, neke od njih, vibriraju naprijed i natrag, prema unutra i prema spolja, implicirajući
gustinom i vrtloženjem neizmjerljivost. Druge su fragilne, delikatne, gotovo dematerijalizovane, lazurno ljubičaste,
njihovo kretanje je gotovo minimalno, pa je latentna drama i strast prethodnih ustupila mjesto ravnoteži, miru...
akrilik na platnu | acrilic on canvas, 2010.
The spiral is an analogy of natural forms of movement but also motion of the universe; it is a symbol of life in
various civilisations and cultures, while Jung regarded it as having religious connotations. All these polymorphous
and intertwined meanings of the spiral may emanate those on the cuboids – Gordana Kuč’s objects. However, it
seems that the works are generated from quite different positions – a very intimate re-examination of the self,
devoid of pretentiousness, big stories, rhetoric and narration. The elements of work The Time is Now have been
painted on the canvas, with a brush and fingers, in various tones and intensities of purple colour. Some of the
spirals vibrate forward and backward, inward and outward, their thickness and whirl implying immensurability.
Others are fragile, delicate, almost dematerialized, with thin layer of purple; their movement is almost minimal, so
the latent drama and passion of the former gave way to balance and peace...
Nataša Nikčević
November
MIODRAG B. PROTIĆ
Iz fonda Umjetničkog muzeja – Zbirka Vukmanović
From the fund of the Art Museum – Vukmanović Collection
Period sa kraja pedesetih i šezdesete godine, vrijeme kada su
nastale slike iz zbirke Vukmanović, predstavlja zrelo umjetnikovo
doba, čije se referencijalne determinante zasnivaju na plastičnopikturalnim i sadržajnim elementima linija-boja-predmet.
Naime, ako međudejstvo boja-linija stvara apstraktne slike, onda
uvođenjem predmeta dolazi do novog jezičkog i pojmovnog
značenja slike. Predmet se javlja kao „simbol, posrednik između
umetnikovih osećanja sveta i realnog sveta“.
Preko njega se uspostavlja korelacija između umjetnikovih osjetilnih i čulnih senzacija i slike kao vizuelnog prenosnika tih osjećanja.
Protićeva djela na kojima je izostavljena narativna, retorička
potka, svedena su na čistu znakovnost, bez obzira na to da li je
slika definisana apstraktnim ili asocijativnim formama.
Njihovoj sažetosti, jasnoći i jednostavnosti možemo naći paralelu
samo u savršenstvu haiku poezije.
The perod of the late 1950s and the 1960s, in which the paintings
from the Vukmanović Collection were created, represent the mature
stage of Protić’s work, whose referencial determinants are based
upon the plastic and pictorial and the content elements of linecolour-object. If the interaction between colour and lines creates
abstract agglomerations, then the introduction of an object gives a
new language and conceptual meaning to the painting. The object
emerges as a “symbol, an intermediary between the artist’s emotions
and the real world“. Through it, a corelation is established between
the artist’s emotions and physical sensations and the picture as a
visual transmitter of the feelings.
Protić’s works devoid of a narrative or rhetorical basis are reduced to pure signs, regardless of whether the painting
is defined by abstract or associative forms. Their conciseness, clarity and simplicity can only be paralleled by the
perfection of haiky poetry.
Ljiljana Zeković
Tri cveta, ulje na platnu
Three flowers, oil on canvas, 1959.
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▶ Crna katedrala II, ulje na gumiranom platnu
The Black Cathedral II, oil on rubberised canvas, 1960.
Povodom smrti Miodraga Dada Đurića održana je komemorativna izložba na kojoj su bili izloženi radovi iz
različitih perioda njegovog stvaralaštva, iz fonda NMCG.
On the occasion of the death of Miodrag Dado Đurić commemorative exhibition was held that exhibited art works
from different periods of artist᾽s creation, from the fund of National Museum.
December
IRENA PASKALI
East T(w)o West
Kroz tri etape: Odlazak-Dolazak-Opstanak umjetnica označava ono što su
formalno i emotivno ključne odrednice jednog mučnog, svjesno načinjenog
izbora. Doživljavajući taj prelaz kao jedno bolno, traumatično iskustvo koje
ostavlja trajne ožiljke, nudi mnoštvo pitanja koja treba izreći naglas kako bi se
odluka o odlasku lakše prihvatila. Kombinujući opšte kadrove koji podjednako
mogu biti preuzeti iz „starog“ ili „novog“ svijeta kojem pripada kreće se
bosonogo i razgolićeno – ranjiva i nezaštićena.
Šta će se izgubiti odnosno dobiti?
„Ništa osim golog života.“ kaže ona, i sugeriše da sama zapravo ne pripada više
ni prostoru koji je napustila ali ni novom ambijentu u kome pokušava naći
„mjesto pod suncem“ već negdje između, balansirajući između očekivanja u
procesu „kontinuiranog pregovaranja“ sa samom sobom, i poput pripitomljene
zvjeri koja funkcioniše po nametnutim pravilima.
In three stages: Departure-Arrival-Survival, the artist presents what are formally
and emotionally the key determinants of a difficult and concsious choice. Taking
the transition as a painful, traumatic experience leaving long-lasting scars, she
offers a series of questions to be voiced out loud in order for the decision of
the departure to be accepted more easily. Combining general shots which can
equally be taken both from the “old“ or “new“ world she belongs to, she moves
barefoot and naked – vulnerable and unprotected.
What will be lost and what will be gained?
“Nothing, except naked life.“, says the artist, suggesting that she herself no
longer belongs either to the space she left or to the new ambience in which she
is trying to find a “place under the sun“. Instead, she is somewhere in between,
balancing between the expectations in the prosess of “continual negotiation“
with herself and functioning by imposed rules like a tame beast.
Mirjana Dabović Pejović
Video stills
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175
Apil-May
PREZENTACIJA PROJEKATA UNESCO-A REALIZOVANIH U REGIONU
PRESENTATION OF UNESCO PROJECTS REALIZED IN THE REGION
VI Ministarska konferencija o kulturnoj baštini Jugoistočne Evrope održana je 23. aprila 2010. godine na Cetinju
uz podršku UNESCO kancelarije u Veneciji – Regionalna kancelarija za nauku i kulturu u Evropi, kao nastavak
regionalne saradnje u okviru programa “Kulturna baština – Most ka zajedničkoj budućnosti”. U okviru konferencije
u Ateljeu Dado je organizovana izložba projektnih aktivnosti koje su realizovane u okviru ove inicijative u zemljama
Regiona.
VI Ministerial Conference on Cultural Heritage of South East Europe was held on 23. April 2010 in Cetinje with
support of the UNESCO office in Venice – Regional office for Sciences and Culture in Europe, as a continuation of
regional cooperation in the framework of the “Cultural Heritage – of the Bridge to a Shared Future” program. As part
of this conference exhibition in Atelier Dado presented project activities that were realized within this initiative in
countries of the Region.
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2011
IRWIN
ZDRAVKO JOKSIMOVIĆ
TOMISLAV PETERNEK
OMAŽ MILICI SARIĆ VUKMANOVIĆ
KOLORISTIČKI EKSPRESIONIZAM
U JUGOSLOVENSKOM SLIKARSTVU
NELA HASANBEGOVIĆ
IGOR SEKOVSKI I BORIS ŠEMOV
PENGUIN 75
April
IRWIN
East Art Map
Izložba i prezentacija | Exhibition and presentation
Dušan Mandič, član grupe IRWIN na prezentaciji je govorio o projektima i izdavačkoj djelatnosti.
Projekat Mapa istočne umjetnosti predstavlja kulminaciju više od deset godina aktivnosti grupe IRWIN posvećenih
pitanju umjetnosti Istočne Evrope i njenog statusa. Sami projekat odvijao se u dvije faze. Prva faza realizovana je
u periodu od 1999. do 2002. a druga od 2002. do 2005. godine kada je okončana objavljivanjem knjige. Objavljena
knjiga takođe sadrži dva dijela. U prvom dijelu definiše se mapa koja na jasan i transparentan način predstavlja
umjetničku produkciju nastalu na teritoriji Istočne Evrope od 1945. do današnjih dana. U drugom dijelu, kroz
sedamnaest eseja autori pokušavaju osvijetliti specifične relevantne teme i obraditi niz pitanja koja su se pojavila u
toku izučavanja umjetnosti i umjetničkog sistema (ili, pak sistemâ) Istočne Evrope.
Dušan Mandič, member of the group IRWIN at the presentation spoke about projects and publishing activities.
The East art Map project is the culmination of more than a decade of activities by the group IRWIN dedicated to
the question of eastern European art and its status. The project itself evolved over two phases, the first existing from
1999 – to 2002, and the second, from 2002 to 2005 and was concluded with a book. This book likewise comprises
two sections. In the first, a map is unveiled which presents, in a clear and transparent way, the art production
the occured in the territory of Eastern Europe from 1945 to the present. In the second section, seventeen essays
attempt to illuminate specific relevant issues and address a number of questions that arose as we explored the art
and art system (or rather, art systems) of Eastern Europe.
Saradnici na projektu | created in collaboration with the following contributing editors: Inke Arns, Vladimir Beskid,
Iara Boubnova, Calin Dan, Ekaterina Degot, Branko Dimitrijević, Lilia Dragneva, Marina Gržinić, Sirje Helme,
Marina Koldobskaya, Suzana Milevska, Viktor Misiano, Edi Muka, Ana Peraica, Piotr Piotrowski, Branka Stipančić,
János Sugár, Jiři and Jana Ševčik, Miško Šuvaković, Igor Zabel, Nermina Zildžo.
IRWIN, 2005.
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EAST ART MAP 2000-2005
IRWIN, Installation view
May – June
ZDRAVKO JOKSIMOVIĆ
Skulpture, kolaži | Sculptures, Collages
U saradnji sa FLU Cetinje | In collaboration with Faculty for Fine Arts Cetinje
Toliko je toga izmišljeno da nam se pomogne u neredu za koji je uvek neko drugi odgovoran. Kao pacijent koji ne
sarađuje i ja sam umislio da proizvodeći skulpture pomažem i sebi i svojoj porodici. Barem sam u njima, vođen
neutešnom osvetom prema gluvonemoj tajni svakodnevice, uspevao da se za tren osetim zgubidan i neodgovoran.
Negde na pauzi kada na mene niko ne motri osećam koliko je važno kada se određeno stanje prepozna kao nešto
snažno i intenzivno, nešto što je u svojoj zbrci ostavilo nekakav emotivan trag ponovo oživljen i povezan sa onim što
sam oduvek bio. Zdravko Joksimović, iz teksta Telesne skulpture
There are so many things that were already invented in order to help the mess that is someone else's fault. Like patient
that does not collaborate I have imagined that by producing sculptures I am helping myself and to my family. At least
I am in them, guided by broken-hearted revenge towards the deaf-and-dumb secret of everyday life, trying to feel like
didder and irresponsable. Somewhere in the pause when nobody watches me I feel how important it is when certain
condition is recognized as something important and intense, something that has in its disorder left some emotional
again revived trace, connected to what I always was.
Zdravko Joksimović, from the text Corporal sculptures
TOMISLAV PETERNEK
June
Susretanje | Encounters
Izložba i prezentacija monografije | Exhibition and presentation of monograph
Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum
Selekcija radova predstavlja Peternekov subjektivni izbor novih radova koji većinom nisu profesionalni zadaci
dugogodišnje karijere reportera već su rezultat intuitivne reakcije i talenta za zapažanje bresonovskog „odlučujućeg
trenutka“ sa margine „događaja“ koji često govore mnogo rečitije i ubedljivije o ljudima i njihovoj egzistenciji.
Upravo zbog toga razloga na ovoj izložbi nema fotografija ljudske drame, ratova, katastrofa i nesreća koje je
Tomislav Peternek pet decenija profesionalno pratio i svojim reportažama stekao afirmaciu u domaćoj i svetskoj
žurnalistici. Prezentovanom selekcijom fotografija Peternek nam dokazuje svoju neiscrpnu energiju, kreativni
potencijal, radoznalost i pozitivistički stav prema realnom svetu danas ali nas i povremeno podseti i na neka prošla
vremena sa setom i optimizmom.
The selection of works on display represents Peternek’s subjective choice of new photos which are generally not
professional tasks from his long-lived career as a reporter but a result of intuitive reaction and gift for spotting
Bresson’s “decisive moment“ from the margins of “events“ which often speak even more convincingly about people
and their existence. This is why this exhibition includes no photographs of human drama, wars, catastrophes and
misery that Tomislav Peternek professionally recorded for five decades, earning a reputation in domestic and
international journalism alike. In the selection of photogrphs on display Peternek proves his inexhaustible energy,
creative potential, inquisitive mind and a positive attitude to real world today, but he also occasionally reminds us
of some former times with melancholy and optimism.
Branimir Karanović
Foto | Photo: Magda Bezmarević
Crnogorke u vrijeme zemljotresa | Montenegrin Women During the Earthquake, 1979.
Tomislav Peternek, Installation view
July – August
OMAŽ MILICI SARIĆ VUKAMNOVIĆ
HOMMAGE TO MILICA SARIĆ VUKMANOVIĆ
Bogata zbirka Vukmanović koja se nalazi u Narodnom muzeju Crne Gore
rezultat je vizionarskog i altruističkog gesta bračnog para Vukmanović,
koji su svoju višedecenijsku naklonost prema umjetninama velikodušno
ustupili i učinili dostupnim publici. U fondu od preko 220 djela pored
slika i skulptura nalazi se i nešto manja zbirka grafika i crteža, nekih od
najznačajnijih autora iz bivše Jugoslavije, ali i sa svjetske scene.
... Do sada su u nekoliko navrata u Ateljeu DADO priređivane izložbe iz
fonda ove kolekcije. Za ovu priliku su odabrane grafike i crteži, sa željom
da se nedavno preminuloj gospođi Sarić Vukmanović još jednom izrazi
zahvalnost i podsjeti na plemeniti gest učinjen Cetinju i Narodnom
muzeju.
The rich Vukmanović collection in the National Museum of Montenegro
is the result of a visionary and altruistic deed of the Vukmanović wedded
couple, who generously bestowed on the museum the product of their
love for art of several decades, making it acessible to the general public.
Apart from paintings and sculptures, the total of over 220 works include
a somewhat smaller collection of graphic prints and drawings by some
of the most important artists from former Yugoslavia, but also from the
world art scene.
Mark Chagall, Revolucija | The Revolution
So far, selection of works from this collection have been exhibited in the DADO Atelier several times. The present
selection includes graphic prints and drawings, made with a wish to once again express our gratitude to the recently
deceased Mrs Sarić Vukmanović and remind the general public of the noble gift presented to Cetinje and the
National Museum.
Mirjana Dabović Pejović
Umjetnici | Artists:
Mark Chagall, Salvador Dali, Diego Rivera, Ordan Petlevski, Janez Bernik, Lazar Vozarević, Miodrag Đurić Dado, Pierre
Auguste Renoir, Pablo Picasso, Zoran Antonio Mušič, Đorđe Andrejević Kun, Petar Lubarda
Miomir Radović, Ana Viđen
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189
Đorđe Andrejević Kun, Zora, litografija | Dawn, Litography,1962.
Salvador Dali, Pegaz, serigrafija | Pegasus, Serigraph, 1950.
Petar Lubarda, Portret Milice Sarić Vukmanović, crtež | Portrait of Milice Sarić Vukmanović, Drawing
Omaž Milici Sarić Vukmanović | Hommage to Milica Sarić Vukmanović, Installation view
August – September
KOLORISTIČKI EKSPRESIONIZAM U JUGOSLOVENSKOM SLIKARSTVU
COLOURIST EXPRESSIONISM IN YUGOSLAV PAINTING
Iz fonda Umjetničkog muzeja | Fronm the fund of the National Museum
Očigledno je da je riječ o najsloženijem i najbogatijem
umjetničkom pravcu prošlog vijeka, čiji su načini
interpretacija brojni i različiti, tako da ga je nemoguće
tumačiti jednom definicijom ili stilski ograničiti. U
širem kontekstu možemo ga povezati sa dva temeljna
iskazna polja, jednom baziranom na Van Gogovom
slikarstvu, i drugom, zasnovanom na socijalnoetičkim principima i misticizmu sjeverno-evropske
umjetnosti, koja imaju zajednički iskazni činilac–
dramatičnost i eksplozivnost gesta skoncentrisanog
u zbijenoj formi sažete sadržine.
Za umjetnike na jugoslovenskim prostorima koji su
se formirali na tekovinama jasno definisanih likovnih
pravaca sezanizmu, intimizmu i kubizmu, ekspresionizam je predstavljao veliki iskorak ka slobodi izraza koji se
temeljio na ličnoj samospoznaji i individualnoj likovnoj
interpretaciji.
Slikari su svoj likovni prosede bazirali na osnovnim
ekspresionističkim izražajnim sredstvima – boji, kao
samostalnoj realnosti i gestualnom potezu.
Zora Petrović, Žene, ulje na platnu | Women, oil on canvas
It is obvious that this is the most complex and richest art movement of the past century, whose manners of
interpretation are numerous and diverse, so it is impossible to interpret it in one definition or to stylistically restrict
it. In a broader context it can be linked to two fundamental statements, one based on Van Gogh’s painting and
the other on the social and ethical principles and mysticism of north – European art, with a common expressive
element – the drama and explosiveness of the gesture concentrated in the compact form of a concise content.
To former Yugoslav artists formed on the achievements of clearly defined art movements: Cezannism, Intimism
and Cubism, expressionism was a big step forward towards the freedom of expression based on personal selfknowledge and individual artistic interpretation. Painters based their visual expression on the main expressionist
means of expression – colour as an independent reality, and gestual stroke.
Ljiljana Zeković
Umjetnici | Artists:
Miloš Vušković, Savo Radulović, Zora Petrović, Nikola Graovac
Branko Filipović Filo, Stojan Aralica, Jovan Bjelić, Milan Konjović
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193
Milan Konjović, Pejzaž sa primorja, ulje na platnu | Landscape from the Coast, oil on canvas
September
NELA HASANBEGOVIĆ
Između svjetla i tame | Between the Light and the Darkness
Izložba i prezentacija | Exhibition and presentation
Instalacija Između svjetla i tame je gotovo performativna, efemerna, „teatarska“, jer ona nestaje u trenutku kada
se ugase neonske sijalice. Teatarski komad počnije „reflektorima“ neona, koji oživaljavaju monolite postavljene
na scenu, proširuju njihovu pojavnost i njihovo polje djelovanja, oni osvajaju prostor galerije i ulaze u prostor
posmatrača i pomažu mu da identificira granice galerijskog prostora. Kao i monoliti i publika se postavlja „na
binu“, tako da cjelokupan ambijent galerije postaje scena koju publika kao akter modificira. Posjetilac se može
kretati oko stubolikih objekata ili ući u njihov prostor, biti unutar instalacije, u konfrontaciji s fizičkim strukturama,
u neposrednom iskustvu teksture materijala i svjetlosti, koja dodatno materijalizira i taktilnost i prisustvo i stvara
osjećaj decentriranosti, dislociranosti u ambijentu igre svjetlosti i tame u koju se subjekt gotovo utapa.
Installation Between Light and Darkness is almost performative, ephemeral, “theatrical“ as it vanishes at the moment
when the neon light is switched off. The theatrical play starts with neon “headlights“ which revive the monoliths on
stage, extending their appearance and field of action; they conquer the gallery space and enter the viewer’s space
helping him/her to identify the borders of the gallery. Just like monoliths, the audience too is found on “stage“.
So the entire interior of the gallery becomes a scene modified by the audience as an actor. The visitior can move
around pillar-like objects or enter their space and be within the installation, confront physical structures and
directly experince the texture of the material and light, which aditionally materializes tactility and presence and
creates the feeling of decentralization, dislocation in the ambience play of light and darkness in which the subject
almost drowns.
Asja Mandić
Konstrukcija od čeličnih profila,
čelična sajla, neonska rasvjeta
Constuction from steel profiles,
steel cords, neon lights, 2010
November – December
IGOR SEKOVSKI
Šitana | Shitana
Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum
Za umetnost Igora Sekovskog, priroda osim što predstavlja polje estetskog istraživanja i društvene odgovornosti,
ona u njegovom najnovijem radu „Šitana“ ima ulogu
’katalizatora’ njegovog emocionalnog sveta.
Ovde možete videti jak uticaj japanske tradicije i znamenitosti, kojima je Igor bio izložen tokom trogodišnjeg boravka na
ostrvu.
Likovna umetnost, na drugoj strani je vizuelni nadražaj
izazvan kompjuterski obrađenom fotografiom punog
meseca izrađenom u noćnim satima u leto 2009. godine
u selu Leunovo, Makedonija. Centralni položaj punog
meseca, čiji kružni oblik je naglašen sa nekarakterističnim
prelazom krune stabla ispod meseca, kao i odnos crnobele boje na fotografiji, kao da sugeriše moguće paralele
i veze sa načinom gledanja sove, što je za Igora početna
inspiracija za ovaj rad.
In Igor Sekovski’s art, apart from representing the field of
aesthetic exploration and social responsibility, in his latest
works “Shitana“ Moon nature has the role of a ’catalyst’ to
his emotional world. Here, one can see a strong influence
of Japanese tradition and sights that Igor was exposed to
during his three-year stay on the island.
In fine art, on the other side is a visual stimulus caused by
computer-proceseed image of the full Moon made at night
in summer 2009. in the village of Leunovo, Macedonia.
The central position of the full Moon, whose circular
shape is emphasized by an uncharacteristic passage of
a crown of a tree under the Moon, and the black-white
relation in the photo, seem to suggest possible parallels
and connections with the looking of an owl, which served
as an initial inspiration for this work.
Bojana Janeva Šemova
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197
Šitana, kompjuterski obrađena fotografija odštampana na papiru
Shitana, Computer processed photograph printed on paper, 2011.
Installation view
November – December
BORIS ŠEMOV
Sharing Extension
Umjetnik je po završetku izložbe poklonio rad Muzeju | After the exhibition closure the artist donated the work to the Museum
S druge strane Boris Šemov u opusu „Sharing extension“
izazvan je zasićenjem vizuelnih isečaka preuzetih iz sveta
virtuelne stvarnosti. U njegovim dvodimenzionalno –
kompjuterski generiranim slikama prepliću se brojne lične
priče, kako njegove tako i njegovih internet sagovornika,
fragmenti predmeta koji stvaraju osećaj bezvremenosti
i detalji iz svakodnevnog života koji u umetničkom
amalgamu dobijaju novi, s vremena na vreme i apstraktni
značaj. Pomoću video opreme, koja predstavlja neku
vrstu intermedijalnog dopunjavanja, biće emitovan
uživo razgovor umetnika sa svojim sagovornicima preko
Skajp-a. Na ovaj način autor dodaje značenje vremena
čime se ističe dinamika internet komunikacije. Ali, kod
Šemova čini se da upravo fluidnost postignuta kroz
kolorističke nijanse sugeriše efemernost interaktivnosti
i intermedijalnog kao osnovne karakteristike umetnosti
inspirisane internetom.
On the other hand, in his work “Sharing Extension“ Boris
Šemov is ispired by overabundance of visual excerpts
taken from the world of virtual reality. In his twodimensional computer-generated images, a multitude of
personal stories intertwine, both in his own and those of
his Internet collocutors, fragments of objects which create
the feeling of timelesness and details from everyday life
which in the amalgam of art gain a new, occasionally
abstract meaning. With use of video equipment, as a kind
of intermedia support, alive talk will be broadkast between
the artist and his collocutors through Skype. In this way,
the artist adds the meaning of time, thus accentuating the
dynamic of the Internet communications. But, it seems
that in Šemov’s work it is the fluidity achieved through
colourist nuances that suggest the ephemeral nature of the
interactive and the intermedia as the basic characteristics
of art inspired by the Internet.
Bojana Janeva Šemova
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201
Sharing Extension II / III, kompjuterski obrađena fotografija odštampana na eko satenu
Computer processed photograph printed on eco satin, 2009-2011.
December
PENGUIN 75
U saradnji sa FLU Cetinje i Ambasadom SAD u Crnoj Gori
In collaboration with Faculty for Fine Arts Cetinje and Embassy of
USA in Montenegro
Povodom 75. godišnjice kompanije Penguin Books njen dugogodišnji
direktor Pol Bakli izabrao je 75 najboljih knjižnih korica u proteklih deset
godina i istražio proces oblikovanja koji se krije iza svake od njih. Izbor je
prošle godine objavljen u knjizi Penguin 75, dizajneri, autori, komentari
(dobro, loše...)
Knjiga i izložba, koju je u saradnji sa američkom filijalom Penguin Books
producirao Emzin nudi nešto više – jednostavne, složene, zabavne i tragične
priče koje prate nastajaje vizuelne slike književnog djela. Opisuje proces
nastajanja i faktore zbog kojih je izabrano rješenje bolje od dvadesetak
drugih predloga. Šta je proradilo, a šta ne? O čemu su razmišljali dizajneri
i ilustratori? Šta je mislio pisac?
On the occasion of the celebration of the 75th anniversary of the
company Penguin Books life-long director Paul Buckley has chosen the
best 75 book covers in the past ten years, and explored the process of
their forming that lies behind each of them. Last year's selection was
published in book Penguin 75, designers, authors, comments (good, bad ...)
The book and the exhibition, which was realized in collaboration with the
American office of Penguin Books, produced by Emzin offers something
more-simple, complex, funny and tragic stories that follow the inception of
the visual image of literary work. It describes the process of formation and
the factors for which the chosen solution is better than a dozen of other
proposals. What is working, and what is not? What were the designers and
illustrators thinking about? What the writer meant?
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203
Pinguin 75, Installation view
UMJETNICI | ARTISTS
Ilija Branko Burić
Rođen 1951. u Nikšiću, Crna Gora.
Završio Višu Pedagošku školu, Odsjek za likovno vaspitanje.
Diplomirao i magistrirao na Fakultetu likovnih umetnosti u
Beogradu. Pripadao grupi „Generacija 9“.
Živi i radi u Nikšiću.
Born in 1951. in Nikšić, Montenegro.
Finished School of Pedagogy, Painting Department.
Graduated from the Faculty of Fine Arts in Belgrade where
he completed postgraduate studies.
Living and working in Nikšić.
Ivan Blažev
Rođen 1974. u Skoplju, Republika Makedonija.
Diplomirao na Brooklyn College at CUNY, Njujork u oblasti
filma. Radi kao freelancer. Živi u Skoplju.
e-mail:[email protected]
[email protected]
Born in 1974. in Skoplje, Republic of Macedonija.
Graduated from the Brooklyn College at CUNY, New York,
in the area of film.
Works as freelancer.
Lives in Skoplje.
Roman Đuranović
Rođen 1969. u Doboju, Bosna i Hercegovina.
Studirao na ALU u Sarajevu, a diplomirao na FLU Cetinje.
Živi i radi u Podgorici.
e-mail: [email protected]
Born in 1969. in Doboj, Bosnia Herzegovina.
Studied at Acadamy of Fine Arts in Sarajevo, and graduated
from the Faculty of Fine Arts Cetinje.
Living and working in Podgorica.
Sonja Đuranović
Rođena 1967. u Titogradu, Crna Gora.
1988. završila Pedagošku akademiju u Nikšiću, odsjek
likovno vaspitanje
1988. studirala na ALU u Sarajevu, Odsjek slikarstvo, u klasi
prof. Milivoja Unkovića
1992. diplomirala na FLU Cetinje.
Živi i radi u Podgorici.
e-mail:
Born in 1967. in Titograd, Montenegro.
1988. graduated from the Academy of Pedagogy in Nikšić,
Department of art education
1988. studied at ALU in Sarajevo, Painting Department, in
the class of prof. Milivoj Unković
1992. graduated from Faculty of Fine Arts Cetinje
Living and working in Podgorica.
Miodrag Đurić Dado
1933. Cetinje, Crna Gora – 2010. Eruval, Francuska
1952. završio Umjetničku školu u Herceg Novom
1956. diplomirao na Akademiji likovnih umetnosti u
Beogradu. Od 1960. stalno nastanjen u Eruvalu, u blizini
Pariza, gdje je živio do smrti.
www. dado.fr
1933. Cetinje, Montenegro – 2010. Herouval, Frence
1952. graduated from the Art School in Herceg Novi
1956. graduated from the Academy of Fine Arts in Belgrade
Since 1960. has been living in Herouval, near Paris, where
he lived until his death.
David Eckard
1988. – School of the Art Institute Chicago
e-mail:[email protected]
www.davideckard.com
206
207
Branko Filipović Filo
1924. Cetinje, Crna Gora – 1997. Beograd, Srbija.
1950 . završio Umjetničku školu Herceg Novom, u klasi
prof. Mirka Kujačića
1955. diplomirao na Akademiji likovnih umetnosti i završio
specijalni tečaj kod prof. Mila Milunovića
U radionici Mila Milunovića kod Jaroslava Kratine izučava
i eksperimentiše sa materijalima, pod uticajem fresko
slikarstva.
Kao slobodni umjetnik radio i živio u Beogradu.
Linda Adele Goodine
1980. diplomirala umjetnost, Interdisciplinarno: ekonomija,
umjetnost i engleska književnost, Univerzitet Ročester,
Njujuork
1981. magistrirala Komunikacijske umjetnosti (video i
ne-verbalne komunikacione teorije), Itaka koledž, Itaka,
Njujork
1983. magistrirala na Florida State University, Tallahasse,
Florida. Živi i radi u Indianapolisu, Indiana.
e-mail:[email protected]
www.lindaadelegoodine.com
Nela Hasanbegović
Rođena 1984. u Sarajevu, Bosna i Hercegovina.
2007. diplomirala, a 2010. magistrirala na ALU Sarajevo,
Odsjek kiparstvo. Živi i radi u Sarajevu.
e-mail: [email protected]
www.nelahasanbegovic.com
IRWIN
Osnovana / Founded in 1983.
Dušan Mandič, Ljubljana 1954.
Miran Mohar, Novo Mesto 1958.
Andrej Savski, Ljubljana 1961.
Roman Uranjek, Trbovlje 1961.
Borut Vogelnik, Kranj 1959.
IRWIN je takodje suosnivač NSK 1984.
IRWIN is also cofounder of NSK in 1984.
www.eastartmap.org
1924. Cetinje, Montenegro – 1997. Belgrade, Serbia
1950. graduated from the Arts School in Herceg Novi, in
the class of prof. Mirko Kujačić
1955. completed his studies at the Academy of Fine Arts in
Belgrade and a master class course with Milo Milunović
Influenced by fresco painting and under the guidance of
Jaroslav Kratina he studied and experimented with different
materials in Milo Milunović’s studio.
He worked and lived in Belgrade as freelance artist.
1980. Bachelor of Art, Interdepartmental: Economics, Fine
Art and English Literature, University of Rochester, New
York
1981. MA, Communication Arts (Video and Non-Verbal
Communication Theories), Ithaca College, Ithaca, New York
1983. MA, Florida State University, Tallahassee, Florida.
Living and working in Indianapolis, Indiana.
Born in 1984. in Sarajevo, Bosnia Herzegovina.
2007. graduated, and in 2010. got MA degree from the
Academy of Fine Arts Sarajevo, Sculpture Department.
Living and working in Sarajevo.
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Olivija Ivanović Strugar
Rođena 1974. u Podgorici, Crna Gora.
2000. diplomirala na FLU Cetinje, Odsjek grafika, u klasi
prof. Anke Burić
2007. magistrirala na FLU Cetinje, Odsjek grafika.
Živi i radi u Podgorici.
e-mail: [email protected]
Born in 1974. in Podgorica, Montenegro.
2000. graduated from the Faculty of Fine Arts Cetinje,
Graphic art Department, in the class of prof. Anka Burić
2007. MA Faculty of Fine Arts Cetinje, Graphic art
Department
Living and workin in Podgorica.
Zdravko Joksimović
Rođen 1960. u Buču, Crna Gora
1986. diplomirao na Fakultetu Primenjenih umetnosti u
Beogradu, a 1989. magistrirao u klasi prof Nikole Jankovića.
Živi i radi u Beogradu.
e-mail: [email protected]
Born in 1960 in Buče, Montenegro.
1986-1989 completed the undergraduated and graduated
studies at the Sculpture Department of the Faculty of Fine
Arts in Belgrade, class of Professor Nikola Janković.
Living and workin in Belgrade.
Igor Josifov
Rođen 1986. Kavadarcima, Republika Makedonija.
2008. studirao na Akademiji Univerziteta umjetnosti u San
Francisku. Živi na relaciji između San Franciska i Njujorka.
e-mail: [email protected]
Born in 1986. in Kavadarci, Republic of Macedonija.
2008. studied at the Academy of Art University of San
Francisko
Lives between San Francisko and New York.
Ivan Kapičić
Rođen 1972. na Cetinju, Crna Gora.
1996. Diplomirao na Fakultetu Likovnih Umjetnosti Cetinje
2000. Magistrirao na FLU Cetinje
Živi i radi na Cetinju.
Born in 1972. in Cetinje, Montenegro.
1996. graduated, and in 2000. got MA degree from the
Faculty of Fine Arts, Cetinje.
Living and working in Cetinje.
Branimir Karanović
Rođen 1950. u Beogradu, Srbija.
1974. diplomirao na Fakultetu Primenjenih umetnosti u
Beogradu, u klasi prof. Božidara Džmerkovića
1976. magistrirao na Fakultetu Likovnih umetnosti, u klasi
prof. Marka Krsmanovića. Bavi se grafikom i fotografijom.
Živi i radi u Beogradu.
e-mail: [email protected]
Born in 1950. in Belgrade, Serbia.
1974. graduated from the Faculty of Applied Arts in
Belgrade, in the class of prof. Božidar Džmerković
1976. MA from the Faculty of Fine Arts in Belgrade, in the
class of prof. Marko Krsmanović
Engaged in graphic arts and photography.
Living and working in Belgrade.
Blažo Kovačević
Rođen 1973. u Podgorici, Crna Gora.
1997. diplomirao na FLU Cetinje, Odsjek slikarstvo
2001. magistrirao na Pensilvanijskoj Akademiji lijepih
umjetnosti
Živi i radi u Savani, Džordžija (USA).
e-mail:[email protected]
Born in 1973. in Podgorica, Montenegro.
1997. graduated from the Faculty of Fine Arts Cetinje,
Painting Deprtment
2001. MFA from the Academy of Fine Arts Pennsylvania
Living and working in Savannah, Georgia (USA).
Gordana Kuč
Rođena 1970. u Beranama, Crna Gora.
1993. diplomirala slikarstvo na FLU Cetinje, u klasi prof.
Dragana Karadžića, gdje je i magistrirala.
Živi i radi u Podgorici.
e-mail: [email protected]
Petar Lubarda
1907. Ljubotinj, Cetinje – 1974. Beograd
1925. upisao Umetničku školu u Beogradu, kod profesorâ
Bete Vukanović, Ljube Ivanovića i Ilije Šobajića, koju napušta
nakon nekoliko mjeseci
1926. upisuje Académie des Beaux Arts u Parizu, ali više uči
obilazeći muzeje i galerije
1932–1938. vraća se u Jugoslaviju, i ubrzo po povratku
nastanjuje se u Beogradu
1938–1940. boravi u Parizu
1941–1944. u zarobljeništvu, u logorima u Njemačkoj i Italiji
1945. radi kao profesor na Akademiji likovnih umetnosti u
Beogradu
1947. učestvuje u formiranju Umjetničke škole na Cetinju,
čiji je prvi direktor
1950. trajno se nastanjuje u Beogradu
Bio je član grupa Lada (1937.) i Samostalni (1952.)
Studijski je boravio u Francuskoj, Italiji, Njemačkoj, SSSR,
Brazilu, Engleskoj, Belgiji, Indiji, Siriji, Libanu.
1959. dopisni član SANU, a redovni od 1961.
Bio je i član JAZU.
1974. otvorena Memorijalna galerija Petra Lubarde u Beogradu
Vlado Martek
Rođen 1951. u Zagrebu, Hrvatska.
Diplomirao književnost i filozofiju.
Djelovao u grupi Šestorica
Živi i radi u Zagrebu.
e-mail: [email protected]
Milena Martinović Walsh
Rođena 1980. na Cetinju, Crna Gora.
2004. diplomirala na Fakultetu Likovnih umjetnosti
Cetinje, Odsjek vajarstvo
2008. magistrirala na FLU Cetinje, Odsjek vajarstvo
Živi i stvara u Francuskoj.
e-mail: [email protected]
Born in 1970. in Berane, Montenegro.
1993. graduated from the Faculty of Fine Arts Cetinje, in
the class of prof. Dragan Karadžić, Painting Department,
where she also got MA degree.
Living and working in Podgorica.
1925. studied Art School in Belgrade, with professors Beta
Vukanović, Ljuba Ivanović and Ilija Šobajić, which he leaves
after few months
1926. enrolles Académie des Beaux Arts in Paris, but he studies
more by visiting museums and galleries
1932–1938. returns to Yugoslavia, and soon after his return
settles in Belgrade
1938–1940. stays in Paris
1941–1944. in captivity, in concentrations camps in Germany
and Italy
1945. works as professor at the Acadamy of Fine Arts in
Belgrade
1947. participates in forming of the Art School in Cetinje,
becomes its first director
1950. settles permenently in Belgrade
Belonged to artistic groups Lada (1937.) and Independent (1952.)
He study resided in France, Italy, Germany, SSSR, Brasil,
England, Belgium, India, Siria, Lebanon.
1959. corresponding member of Serbian Acadamy of Sciences
and Arts, full member since 1961.
He was also member Yugoslav Academy of Sciences and Arts.
1974. opened Memorial Gallery Petar Lubarda in Belgrade
Born in 1951. in Zagreb, Croatia.
Graduated literature and philosophy
Belonger to the group Six
Living and working in Zagreb
Born in 1980. in Cetinje, Montenegro.
2004. graduated from the Faculty of Fine Arts Cetinje,
Sculpture Department
2008. MA from the Faculty of Fine Arts Cetinje, Sculpture
Department
Living and working in France.
Jovan Mrvaljević
Rođen 1976. na Cetinju, Crna Gora.
1999. diplomirao na FLU Cetinje 2005. završio postdiplomske studije na istom fakultetu 2007. završio Master 1, Istorija umjetnosti, likovna
umjetnost i fotografija, Univerzitet Paris 8 2010. završio Master 2, Savremena umjetnost i novi mediji,
Fakultet za estetiku, filozofiju i umjetnost, Univerzitet Paris
8 Vincennes-Saint Denis
Trenutno doktorant na Univerzitetu Paris 8, doktorska
škola EDESTA (L’Ecole Doctorale Esthétique, Sciences et
Technologies des Arts).
e-mail:[email protected]
Born in 1976. in Cetinje, Montenegro.
1999. Graduated from the Faculty of Fine Arts Cetinje
2005. Completed postgraduate studies from the same Faculty
2007. Completed MA 1, Art History, Art and Photography
University Paris 8
2010. Completed MA 2, Contemporary Art and Media, Faculty
of Aestethics, Philosophy and Art, University Paris 8
Vincennes-Saint Denis. PhD candidate from the University
Paris 8, EDESTA (L’Ecole Doctorale Esthétique, Sciences et
Technologies des Arts)
Oliver Musovik
Rođen 1971. u Skoplju, Republika Makedonija.
1997. diplomirao na FLU Skoplje
Živi i radi na relaciji Sarajevo Skoplje.
e-mail:[email protected]
www. olivermusovik.tk
Born in 1971. in Skopje, Republic of Macedonia.
1997. graduated from the Faculty of Fine Arts in Skoplje.
Living and working between Sarajevo and Skoplje.
Milan Nikčević
Rođen 1954. u Ravnama, Slovenija.
Diplomirao sociologiju na Filozofskom fakultetu u Nikšiću.
Živi i radi u Nikšiću.
e-mail:[email protected]
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Born in 1954. in Ravne, Slovenia.
Graduated Sociology from the Faculty of Philospohy in
Nikšić.
Living and working in Nikšić.
Damir Nikšić
Rođen 1970. u Brezovom Polju, kod Brčkog, BiH.
Srednju Umjetničku školu je završio u Sarajevu.
Akademiju likovnih umjetnosti pohađao u Sarajevu, nastavio
u Milanu i Bolonji, diplomirao u Sarajevu u klasi prof. Nusreta
Pašića.
Magistrirao umjetnost i istoriju umjetnosti na Univerzitetu u
Arizoni. Jedan je od osnivača grupa „Sing Sing“ i „Maxumim“.
Živi i radi u Sarajevu.
e-mail:[email protected]
www.damirniksic.com
Born in 1970. in Brezovo Polje, near Brčko, B H.
Completed Secondary Art School in Sarajevo.
Attented Fine Arts Acadamy in Sarajevo, continuing his
studies in Milan and Bologna, and comming back to graduate
in Sarajevo, in the class of prof. Nusret Pašić. Got Master’s
degrees in art and art history at the University of Arisona. He
is one of the founders of groups „Sing Sing“ i „Maxumim“.
Living and working in Sarajevo.
Ratko Odalović
Rođen 1964. u Grahovu, Crna Gora.
Diplomirao, a 1993. magistrirao na Fakultetu likovnih
umetnosti u Beogradu, u klasi prof. Živojina Turinskog.
Živi i radi u Podgorici
e-mail:[email protected]
Born in 1964. in Grahovo. Montenegro.
Graduated, and in 1993. got MA degree from the Faculty of
Fine Arts in Belgrade, in the class of prof. Živojin Turinski.
Living and working in Podgorica.
Irena Paskali
Rođena 1969. u Ohridu, Republika Makedonija.
1995. diplomirala na Fakultetu Prirodnih nauka, Skoplje
2000. diplomirala Fakultetu Likovnih umetnosti, Skoplje
2007. magistrirala na Akademiji za Medije i umjetnost u
Kelnu, Njemačka
Živi i radi u Kelnu, Njemačka.
e-mail:[email protected]
www.irenapaskali.com
Mihailo Pavićević
Rođen 1974. na Cetinju, Crna Gora.
2000. diplomirao na FLU Cetinje.
Živi i radi u Podgorici.
e-mail:[email protected]
www.mpavicevic.com
Born in 1969. in Ohrid, Republic of Macedonia.
1995. graduated from the Faculty of Natural Sciences,
Skopje
2000. graduated from the Faculty of Fine Arts Skopje
2007. MFA, Academy of Media Arts Cologne, Germany.
Living and working in Cologne, Germany.
Born in 1974. in Cetinje, Montenegro.
2000. greaduated from the Faculty of Fine Arts Cetinje.
Living and working in Podgorica.
Milija Pavićević
Rođen 1950. na Cetinju, Crna Gora.
Živi i stvara na Cetinju.
e-mail: [email protected]
Born in 1950. in Cetinje, Montenegro.
Living and working in Cetinje.
Tomo Pavićević
Rođen 1952. u Titogradu (Podgorica), Crna Gora.
Završio VPŠ u Nikšiću.
Živi i radi u Pogorici.
Tel: +382 (0) 20 264 278
Born in 1952. in Titograd (Podgorica), Montenegro.
Graduated from the HPS in Niksic.
Living and working in Podgorica.
Tomislav Peternek
Rođen 1933. u Vinkovcima, Hrvatska.
Završio Realnu gimnaziju.
Fotografijom se bavi od 1954. godine.
Majstor fotografije FSJ od 1967; Artist FIAP od 1967;
Ekselencija FIAP od 1973.
Živi i radi u Beogradu.
e-mail:[email protected]
Born in 1933. in Vinkovci, Croatia.
Graduated from the Real Gymnasium.
Engaged in photography since 1954.
Master of photography FSJ od 1967; Artist FIAP od 1967;
Excellency FIAP since 1973.
Living and working in Belgrade.
Irena Lagator Pejović
Rođena 1976. na Cetinju, Crna Gora.
1999. diplomirala na Fakultetu Likovnih umjetnosti Cetinje
1999/2002. ENSBA - Ecole Nationale Superieure des Beaux
Art du Mans, Francuska
Magistrirala na Fakultetu Likovnih umjetnosti Cetinje,
Odsjek grafika i Odsjek grafički dizajn
Born in 1976. in Cetinje, Montenegro.
1999. graduated from the Faculty of Fine Arts Cetinje
1999/2002. ENSBA - Ecole Nationale Superieure des Beaux
Art du Mans, France
MA from the Faculty of Fine Arts Cetinje, Graphic Arts
Department, Graphic Design Department
Doktorant (interdisciplinarno i media) u Centru za
interdisciplinarne studije, Univerzitet umetnosti Beograd.
Živi i radi u Podgorici.
e-mail:[email protected]
www. irenalagator.net
Ivana Pejović
Rođena 1981. u Titogradu (Podgorica), Crna Gora.
2006. diplomirala na FLU Cetinje
Bavi se interdisciplinarnim art-om.
Živi i radi u Podgorici.
e-mail: [email protected]
Lazar Pejović
Rođen 1969. na Cetinju, Crna Gora.
1996. diplomirao na Fakultetu likovnih umjetnosti na
Cetinju, Odsjek grafika
1998. magistrirao na Fakultetu primenjenih umetnosti i
dizajna u Beogradu. Živi i radi na Cetinju.
e-mail:[email protected]
Ivanka Vana Prelević
Rođena 1965. u Podgorici, Crna Gora.
1990. diplomirala, a 1995. magistrirala na Fakultetu
primenjenih umetnosti i dizajna u Beogradu, odsjek
vajarstvo, u klasi prof. Miodraga Živkovića.
2006. magistrirala na istom fakultetu, odsjek scenografija,
kod prof. Geroslava Zarića.
Živi i radi u Podgorici.
e-mail:[email protected]
www.vanaprelevic.com
Dmitrij Prigov
1940 – 2007.
Rođen u Moskvi, Rusija.
1964. diplomirao na Stroganovskom Umjetničkom Institutu
u Moskvi, odsjek skulptura. Do Perestroike bio istaknuti
protagonista underground umjetničke scene u tadašnjem
SSSR-u. Jedan je od osnivača moskovske Konceptualne škole.
Izvodio solo muzičke performanse, a nastupao i sa klasičnim i
džez muzičarima.Bavio se fotografijom i videom.
Njegovi radovi se nalaze u muzejima i privatnim kolekcijama
Rusije, Evrope, SAD i Japana.
www.prigov.ru
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PhD candidate (interdisciplinary and multimedia) at Center
for Interdisciplinary Studies / University of Arts, Belgrade.
Living and working in Podgorica.
Born in 1981. in Titograd (Podgorica), Montenegro.
2006. graduated from the Faculty of Fine Art Cetinje
Engaged in multimedia art.
Living and working in Podgorica.
Born in 1969. in Cetinje, Montenegro.
1996. graduated from the Faculty of Fine Arts Cetinje,
Graphic Arts Department
1998. MA Faculty of Applied Arts and Design Belgrade,
Photography Department
Living and working in Cetinje.
Born in 1965. in Podgorica, Montenegro.
1990. graduated, and 1995. MA from the Faculty of Applied
Arts and Design Belgrade, Sculpture Department, in the
class of prof. Miodrag Živković
2006. MA from the same Faculty, Set Design Department,in
the class of prof. Geroslav Zarić
Living and working in Podgorica.
1940 – 2007
Born in Moscow, Russia.
1964. graduated from the Stroganovsky Art Insitute in Moscow,
Sculpture Department. Until Perestroika was outstanding
protagonist of the Underground art scene in SSSR. He was
oone of the the founders of the Moscow Conceptual School.
Showed out solo musical performances, featured with classical
and jazz musicians.
Engaged in photography and video.
His works are in collections of museums and private collections
in Russia, Europe, USA i Japan.
Milena Jovićević Popović
Rođena 1976. na Cetinju, Crna Gora.
1999. diplomirala na FLU, Cetinje
1999/2000. specijalizirala na Ecole Nationale Superieure des
Beaux Art du Mans, Francuska
2004. Ecole Nationale Superieure des Beux Arts Paris, prof
Dominique Gauthier.
2004/05. Ecole Nationale Superieure des Beux Arts Paris,
prof Dominique Gauthier.
2008. Magistrirala na Fakultet Likovnih Umjetnosti Cetinju.
e-mail: [email protected]
www.milenajovicevic.com
Miodrag B. Protić
Rođen 1922. u Vrnjačkoj banji, Srbija.
Diplomirao na Pravnom fakultetu u Beogradu.
1943-1944. učio slikarstvo u školi Mladena Josića, kod
Jovana Bijelića, Zora Petrović, Franja Radočaja, Svetolika
Lukića i V. Vitezice
1953. i 1954. kao stipendista francuske Vlade boravio u
Parizu
1959–1980. direktor Muzeja Savremene umetnosti u
Beogradu.Bio član grupâ Samostalni, Grupe 69, i jedan od
osnivača Decembarske grupe.Bavi se likovnom kritikom,
esejistikom i teorijom umjetnosti. Živi i radi u Beogradu.
Mirko Radonjić
Rođen 1984. u Podgorici, Crna Gora.
2008. diplomirao na Fakultetu Likovnih umjetnosti na
Cetinju, Odsjek slikarstvo, u klasi prof. Dragana Karadžića
Živi i radi u Podgorici.
e-mail:[email protected]
Vojo Radonjić
1963. Titograd – 2005. Podgorica, Crna Gora.
1983. završio Grafičku školu
Od 1984. bavio se fotografijom kao freelancer
1985 -1992 radio kao reprofotograf
Aleksandar Rafajlović
Rođen 1957. u Beranama, Crna Gora.
1980. diplomirao slikarstvo na Fakultetu Likovnih
umetnosti u Beogradu
1983. postdiplomske studije završio na Fakultetu Likovnih
umetnosti u Beogradu. Živi i radi u Beogradu.
e-mail: [email protected]
Born in 1976. in Cetinje, Montenegro.
1999. graduted from the Faculty of Fine Arts, Cetinje
1999/2000. Ecole Nationale Superieure des Beaux Art du
Mans, France
2004. Ecole Nationale Superieure des Beux Arts Paris, prof
Dominique Gauthier.
2004/05. Ecole Nationale Superieure des Beux Arts Paris,
prof Dominique Gauthier.
2008. MA in Faculty of Fine Arts, Cetinje
Born in 1922. in Vrnjačka banja. Serbia.
Graduted from the Faculty of Law.
1943-1944. studied painting in School of Mladen Josić, with
Jovan Bijelić, Zora Petrović, Franjo Radočaj, Svetolik Lukić i V.
Vitezica
1953. i 1954. as schoolar of French government stayed in Paris
1959–1980. director of Museum of Contemporary Art in
Belgrade. Belonged to art groups Indepentents, Gruop 69,
and was one of founders of December group. Engaged in art
criticism, essay literature and theory of art.
Living and working in Belgrade.
Born in 1984. in Podgorica., Montenegro.
2008. graduated from the Faculty of Fine Arts Cetinje,
Painting Department, in the class of prof. Dragan Karadžić
Living and working in Podgorica.
1963. Titograd – 2005. Podgorica, Montenegro.
1983. graduated from Graphic school
Since 1984. engaged in photography as freelancer
1985 -1992. worked as reprophotographer
Born in 1957. in Berane, Montenegro.
1980. graduted from the Faculty of Fine Arts Belgrade
1983. MA Faculty of Fine Arts Belgrade
Living and working Beogradu.
Igor Rakčević
Rođen 1971. u Titogradu, Crna Gora.
1995. diplomirao na Fakultetu Likovnih umjetnosti na
Cetinju
1997. magistrirao na Fakultetu Likovnih umetnosti u
Beogradu. Živi i radi u Podgorici.
e-mail: [email protected]
www.rakcevic.com
Jean Baptist Sauvage
Rođen 1977. u Saint-Etienne, Francuska.
Diplomirao na Ecole Nationale Superieure des Beux Arts de
Saint-Etienne
Živi u Saint-Etienne-u i Marseille-u
htt//jb-sauvage.com
e-mail: jbsauvage@ yahoo.com
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Born in 1971. in Titograd, Montenegro.
1995. graduated from the Faculty of Fine Arts Cetinje
1997. MA from Faculty of Fine Arts Belgrade
Living and working in Podgorica.
Born in 1977. in Saint-Etienne, France.
Ecole des BeauxArt de Saint-Etienne.
Live in Saint-Etienne and Marseille.
Igor Sekovski
Rođen 1972. u Skoplju, Republika Makedonija.
1997. diplomirao slikarstvo sa konzervacijom i
restauracijom i ručnu izradu papira na Fakultetu Likovnih
umetnosti u Skoplju.
2000/2001. specijalizirao slikarstvo na Musashino Art
University, Tokyo, Japan
2003. magistrirao na Joshibi Univeersity of Art and Design,
Kanagawa, Japan. Živi i radi u Skoplju.
e-mail: [email protected]
Born in 1972. in Skoplje, Republic of Macedonija.
1997. graduated painting with conservation and
restoration, and handmade paper from the Faculty of Fine
Arts in Skopje.
2000/2001. specijalized painting at Musashino Art
University, Tokyo, Japan
2003. MA from the Joshibi Univeersity of Art and Design,
Kanagawa, Japan
Living and working in Skoplje.
Jean – Bernard Souderes
Živi i radi u Parizu.
Living and working in Paris.
Boris Šemov
Rođen 1974. u Skoplju, Republika Makedonija.
1991–1992. Grimsly High School-Greensboro, North
Carolina, USA
1996. diplomirao, a 2003. magistrirao na Fakultetu likovnih
umetnosti Skoplje, Odsjek slikarstvo
Živi i radi u Skoplju.
e-mail: [email protected]
www.semovboris.com
Born in 1974. in Skoplje, Republic of Macedonija.
1991–1992. Grimsly High School-Greensboro, North
Carolina, USA
1996. graduated from the Faculty of Fine Arts in Skoplje,
Painting Department
2003. MA from the Faculty of Fine Arts in Skoplje, Painting
Department
Living and working in Skoplje.
Slobodan Šijan
Rođen 1946. u Beogradu. Srbija.
Filmski reditelj, likovni umjetnik, scenarista i filmski
kritičar. Živi i radi u Beogradu.
e-mail:[email protected]
Born in 1946. in Belgrade, Serbia.
Film director, artist, scene writer and film critic.
Living and working in Belgrade.
Ilija Šoškić
Rođen 1934. u Dečanima, Crna Gora.
Studirao Umjetničku školu u Herceg Novom i na Akadmiji
Likovnih umetnosti u Beogradu.
1969. odlazi iz Jugoslavije, i nastanjuje se u Bolonji gdje
upisuje Accademia delle belle Arti
1973-1987. Živi u Rimu
Nastanjuje se u Dubrovniku, a od 1991. zbog ratnih zbivanja
na Balkanu u Baru.
1994. odlazi na Hidru u Grčku, a 1996. se vraća u Rim gdje
i danas živi i radi.
e-mail:[email protected]
Born in 1934. in Dečani, Montenegro.
Studied at the Art School in Herceg Novi and Academy of
Fine Arts in Belgrade.
1969. leaves Yugoslavia, and settles in Bologna, where
enrolled Accademia delle belle Arti
1973-1987. Lives in Rome
Comes back to Yugoslavia, to Dubrovnik, and since 1991.
and war in Balkans lives in Bar
1994. leaves for Hidra in Greece, in 1996. comes back to
Rome where he is still living and working.
Nenad Šoškić
Rođen 1970. u Baru, Crna Gora.
Diplomirao na FLU Cetinje, odsjek vajanje.
Postdiplomske studije završio u Beogradu
Živi i radi u Podgorici.
e-mail:[email protected]
www.nenadsoskic.com
Born in 1970. in Bar, Montenegro.
Gradiented from the FLU Cetinje, Sculpture Department.
MA Faculty of Fine Arts Belgrade
Living and working in Podgorica.
Masha Shubina
Rođena 1979. u SSSR.
2002. Institut za arhitekturu i umjetnosti, Moskva
2003. diplomirala na Nacionalnoj Akademiji za umjetnosti i
arhitekturu, Kijev. Živi i radi u Berlinu, (Njemačka) i Kijevu,
(Ukrajina).
e-mail: [email protected]
Vladimir Tatarević
Rođen u Beogradu, Srbija.
1997. diplomirao na Fakultetu Primenjenih umetnosti
u Beogradu. Po završetku magistarstkih studija radio za
„Trans Ocean Photos“. Živi i radi u Beogradu.
e-mail: [email protected]
www.tatarevic.com
Born in 1979. in SSSR.
2002. Moscow Architecture & Art Institute, Moscow, Russia
2003. graduated from the National Ukraine Academy of
Art & Architecture, Kiev. Living and working in Berlin,
(Germany) and Kiev, (Ukraine).
Born in Belgrade, Serbia.
1997. graduated from the Faculty of Applied Arts Belgrade
After finishing postgraduate studies has been working for
„Trans Ocean Photos“.
Living and working in Belgrade.
Dragoljub Raša Todosijević
Rođen 1945. u Beogradu, Srbija.
Diplomirao na Akademiji likovnih umetnosti u Beogradu.
Od 1969. živi i radi u Beogradu.
e-mail: [email protected]
Born in 1945. in Belgrade, Serbia.
Graduated from the Faculty of Applied Arts Belgrade
1969. living and working Belgrade
Jelena Tomašević
Rođena 1974 u Podgoricu, Crna Gora.
2002. diplomirala na Fakultetu Likovnih umjetnosti Cetinje, u
klasi prof. Nikole Gvozdenovića
2004. Magistrirala na Fakultetu Likovnih umjetnosti na Cetinju.
e-mail: [email protected]
Born in 1974. in Podgorica, Montenegro.
2002. graduated from the Faculty of Fine Arts Cetinje, in
class of prof. Nikola Gvozdenović
2004. MA from the Faculty of Fine Arts Cetinje
Aleksandra Dada Tomić Vicković
Rođena 1978.
2004. diplomirala na FLU Cetinje, Odsjek grafika, u klasi
prof. Jakova Đuričića
2008. magistrirala na FLU Cetinje, Odsjek grafika, kod prof.
Anke Burić. Živi i radi na Cetinju.
e-mail: [email protected]
Born in 1978.
2004. graduated from the Faculty of Fine Arts Cetinje,
Graphic arts Department, in the class of prof. Jakov Đuričić
2008. MA from the Faculty of Fine Arts Cetinje, Graphic
arts Department, in the class of Anka Burić
Livng and working in Cetinje.
Lazar Vozarević
1925. Sremska Mitrovica – 1968. Beograd, Srbija.
1941. upisao je Školu za Primenjene umetnosti u Beogradu
1948. diplomirao na Akademiji Likovnih umetnosti
1950-51. studijski boravio u Parizu
Bio je član Jedanaestorice i Decembarske grupe, i jedan od
prvih eksponenata enformela u Beogradu 60-ih godina
XX vijeka. Pored slikarstva, bavio se ilustracijom knjiga i
mozaikom.
1925. Sremska Mitrovica – 1968. Belgrade, Serbia.
1941. enrolled School for Applied Arts in Belgrade
1948. graduated from the Academy of Fine Arts
1950-51. stayed in Paris
Member of artistic groups Eleven and December group, and
one of the first informel artists in 60’s. of the XX c.
Apart from painting engaged in book ilustration and
mosaik.
Suzana Pajović Živković
Rođena 1970. u Nikšiću, Crna Gora.
1994. dipomirala na Ekonomskom fakultetu u Podgorici,
Poslovni smjer
2000. diplomirala na FLU Cetinje, Odsjek vajanje
2006. diplomirala na FLU Cetinje, Dosjek grafički dizajn
2008. magistrirala na FLU Cetinje, Odsjek vajanje
2009. magistrirala na FLU Cetinje, Odsjek grafički dizajn
Živi i radi u Podgorici.
e-mail: [email protected]
216
217
Born in 1970. in Nikšić, Montenegro.
1994. graduated from the Faculty of Economy, Poslovni
smjer
2000. graduted from the Faculty of Fine Arts Cetinje,
Sculpture Department
2006. graduted from the Faculty of Fine Arts Cetinje,
Graphic Design Department
2008. MA from the Faculty of Fine Arts Cetinje, Sculpture
Department
2009. MA from the Faculty of Fine Arts Cetinje, Graphic
Design Department. Living and working in Podgorica.
CIP - Katalogizacija u publikaciji
Centralna narodna biblioteka Crne Gore, Cetinje
ISBN 978-86-85567-28-5
COBISS.CG-ID 21005072

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