KUSTOSIRANJE: Doživljaj u pokretu. ABOUT AND AROUND CURATING: Thrill in movement

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2 KUSTOSIRANJE: Doživljaj u pokretu ABOUT AND AROUND CURATING: Thrill in movement

3 Savamala revisited Kustosiranje: Doživljaj u pokretu nastaje kao odgovor i unapređivanje projekta Kustosiranje na poziv organizatora Miksera da predložimo poseban izložbeni program za festival Odrednicu ovogodišnjeg festivala čini tranzit, kao i iz njega izvedeni pojmovi pokreta i promene, koje se mogu posmatrati iz ugla arhitekture, urbanizma, dizajna, vizuelnih umetnosti, muzike, istorije i sl. Na mikro planu ovi pojmovi se odnose na prošlost, sadašnjost i budućnost Savamale, a na makro planu na Beograd i urbana gradska jezgra Srbije. U svojstvu direktora vizuelnog umetničkog programa festivala Mikser 2013, pripremili smo nov okvir i model rada, na bazi naših prethodnih izložbenih projekata (Mikser festival 2012, galerije Dom omladine Beograd i U ), koji je istovremeno i otvoren, i unapred određen, poput eksperimenta sa jasnim parametrima i ciljem. Najvažnijim u tom procesu rada smatramo otvaranje jednog kreativnog prostora za nove u umetničkom polju, studente i mlade profesionalce iz oblasti umetnosti i kulture, odnosno okvira koji će biti ispunjen njihovim sadržajem stvaranjem novih umetničkih dela za Mikser festival Usled neizvesnosti i drastično smanjenog finansiranja projekata iz kulture u 2013 od strane države, uspeli smo da učesnicima projekta obezbedimo budžet za produkciju novih radova, kao i prostor za promociju, okvir s kojim su svi učesnici bili unapred upoznati, u skladu sa transparentnošću rada. Postavka izložbe Kustosiranje: Doživljaj u pokretu je zasnovana na tri preduslova: prostor, postamenti i raspored izložbenih celina. Kao novina i zaštitni znak ovogodišnjeg festivala, umetnički radovi se nalaze na kamionetima Gradske čistoće (Mega, Sprinter i Piaggio), imajući ulogu izložbenih postamenata. Umesto galerijskog prostora, izložbene celine na kamionetima se nalaze na otvorenom prostoru, u ulicama Braće Krsmanović i Travničkoj koje su bile zatvarane svaki dan tokom trajanja festivala, oslobađajući prostor privremeno od teškog saobraćaja. Raspored kamioneta se menja svaki dan, doprinoseći neprekidnoj promeni, gde se problematizuje početak i kraj izložbe, kao i njeno moguće tumačenje. Umesto klasične muzejskogalerijske postavke koja prati hronologiju ili umetničke faze, stilove ili nacionalnosti, odlučili smo da se poigramo mogućnostima čitanja ove grupne izložbe. Ukoliko bi svaki od radova, tj. umetničkih celina, bio apstrahovan u po jednu reč (ili par reči), njihov raspored u prostoru može da se sagleda kao sastavljanje rečenice, poruke, smisla, narativa, u umu posmatrača. Reči i izvedena rečenica, zasnovani na sadržaju kustoskih tekstova i pojavnosti samih umetničkih radova, su otvoren prostor, mogućnost za ličnu i trenutnu interpretaciju, u zavisnosti od postavke datog dana festivala. Smatramo da ovakav vid postavke, bez unapred zadatog načina čitanja, čak na granici ekstremne promenjivosti, pruža veću priliku za uključivanje publike u njeno značenje, kao i veći izazov u kreiranju samosvojnog stava o viđenoj postavci. Projektom Kustosiranje: Doživljaj u pokretu namera nam je da u ovom okviru mladi kreativaci daju svoje viđenje i promišljanje svakodnevice, gradskog jezgra koje je decenijama ruinirano, i da se kroz umetnost kritički pozicioniraju prema svom okruženju. Iako cela izložba Kustosiranje: Doživljaj u pokretu, prestaje da postoji nakon završetka Miksera 2013, usled trenutne nemogućnosti pravljenja depoa Savamale, ona je dokumentovana ovim katalogom i predstavlja idejni i iskustveni doprinos uključivanju stanovnika grada u okviru velikog talasa oživljavanja i promišljanja ove gradske oblasti. Savamala dobija ekskluzivni fokus koji je prisutan u proteklih nekoliko godina kroz održavanja velikih manifestacija i kulturnih događaja (Mikser festival, Urban inkubator, Oktobarski salon), otvaranjem kulturnih institucija (Grad: evropski centar za kulturu i debatu), novih klubova i lokala, intervencijama u javnom prostoru i sl. Doprinos oživljavanju ovog dela Beograda trenutno ipak ostaje pod znakom pitanja, usled krutog birokratskog sistema, neizvesnosti dugoročnog finansiranja i potencijalnom pretnjom nekog tranzicionog oblika džentrifikacije, koji zahteva dublju analizu i diskusiju profesionalaca koji poznaju proces iznutra. Međutim, usvajanje stava da se prihvati deo lične (građanske) odgovornosti i pruže konstruktivna rešenja, velika upornost entuzijasta i okupljanje kreativnih inicijativa ostaju trajni saveznici kvalitetnijoj promeni Savamale. Srđan Tunić Kustos istoričar umetnosti koautor projekta Kustosiranje 1

4 Savamala revisited About and around curating: Thrill in movement has been created as a response and enhancement of Kustosiranje / About and around curating project, by call from organisers of Mikser festival to have a special exhibition project for the 2013 edition of the festival. This year s festival is specified by term transit, and its derivates movement and change, which could be articulated from various perspectives through architecture, urbanism, design, visual arts, music, and history, among others. On micro scale, these terms are directly tied to the past, present and future of the Savamala district, while on macro scale are related to Belgrade and urban city centres in Serbia. As the Directors of the visual artistic programme of Mikser festival 2013, we prepared a new model and framework, based on our previous exhibition projects (Mikser festival 2012, galleries of Dom omladine Belgrade and U ), which is open and defined in advance, as an experiment with clear parameters and goals. We consider that the most important element in this process is the opening of a creative space for the new in artistic field, students and young professionals from the fields of art and culture, i.e. a framework to be defined by their content creating new artworks for Mikser festival Due to uncertainty and lack of funding by the state for a great number of cultural projects in 2013, we managed to ensure a budget for production of new works, as well as promotion, a framework set in advance which was presented to all participants, fostering the transparency of work. The About and around curating: Thrill in movement exhibition setting is based on three parameters: pedestals, space and configuration of artworks ensemble. Specific elements and trademarks of this year s festival are small trucks of Belgrade s Sanitation service (models Mega, Sprinter and Piaggio), on which artworks are mounted on, serving as pedestals. Instead of a gallery space, the group exhibition on trucks is in open-air, in Braće Krsmanović and Travnička streets, which are closed during the festival, thus temporarily freeing the place from heavy traffic. The configuration of trucks is different every day, adding to the constant changeability and problematizing where the exhibition starts, and where it ends, and its possible interpretation(s). Instead using the classical museum/gallery approach where a setting is defined by chronology, artistic phases, styles or nationalities for example, we decided to play with the possibilities of reading. If every artwork, or artistic whole, could be abstracted into one or few words, their setting in space can look as trying to make a sentence, message, meaning or narrative, in the minds of onlookers. Words and generated sentences, based on the content of curatorial statements and appearance of artworks itself, are presenting an open space, a possibility for personal and instantaneous interpretation, depending on temporary setting of each festival day. We consider that this kind of setting, without already-made reading, and even being on the edge of extreme changeability, is providing a higher chance for the audience to participate, as well as bigger challenge in creating autonomous opinion on noted setting. By developing About and around curating: Thrill in movement project our intention is to provide a space for young creative professionals to give their statement and reflection on their surroundings, city quarter that s being under decay for decades and to have a critical attitude towards this ambient, through art. Although the whole exhibition About and around curating: Thrill in movement stops existing after the end of Mikser festival 2013, due to temporary lack of deposit of Savamala, it is documented via this catalogue and presents an attempt in ideas and experience to include the citizens in a great wave of restoration and critical reflection of this city quarter. contribution to reviving this part of Belgrade at the moment remains under question mark, due to stiff bureaucratic system, uncertainty of long-term financial support and potential threat of some type of transition countries gentrification process, which calls for deeper analysis and discussion of professionals knowing the process from within. Meanwhile, by adopting an attitude to accept the part of personal (civil) responsibility and to find constructive solutions, great commitment of enthusiasts and gathering creative initiatives are being powerful allies of Savamala s quality future. Srđan Tunić Curator Art historian Co-author of About and around curating project Savamala is gaining an exclusive focus during the past couple of years, through having large scale manifestations and cultural events (Mikser festival, Urban Incubator, October salon), opening cultural institutions (Grad: European centre for culture and debate), new clubs, interventions in public space, among others. Although, every 2

5 JE L TI MOŽEŠ DA VIDIŠ IZA ĆOŠKA? CAN YOU SEE AROUND THE CORNER? Umetnica: Bojana Andrić, direktorka fotografije Kustoskinja: Kristina Grebenar, apsolventkinja istorije umetnosti Saradnica kustoskinje/dokumentaristkinja: Anđela Milinković, istoričarka umetnosti (MA) Artist: Bojana Andrić, director of photography Curator: Kristina Grebenar, art history student Curatorial associate/documentary: Anđela Milinković, art historian (MA) Umetnička instalacija Je l ti možeš da vidiš iza ćoška? ima za cilj da interpretira vizuelni identitet Savamale kroz kameru opskuru. Ona postavlja pitanje: koji je od optičkih privida prvi, originalan, stvaran? Slike, koje smo u stanju da opazimo čulom vida, duguju svoju vizuelnost prelamanju svetlosnih zraka u našem oku. Dakle, ono što smatramo stvarnim, jednako je iluzija kao izokrenuti lik koji vidimo unutar kamere opskure. Jedna naizgled banalna promena ugla posmatranja podstiče na razmišljanje o entitetima koji su vremenom počeli da se podrazumevaju; daje priliku posmatraču da ponovo proveri svoja ubeđenja; da doživi ovaj kraj grada kao estetski bogato jezgro; da se zapita o mnogim kontradikcijama koje ovo mesto nosi. Lik unutar kamere opskure postavlja mnoga pitanja: da li su stvarno buka koju prve kamioni i zagađenost vazduha ono što nam smeta kada boravimo u savamalskim ulicama ili je to možda savest koja nas izjeda, svest o tome da nismo uradili ništa po pitanju prave revitalizacije ovog mesta? Koje je pravo lice Savamale Ovo koje sada vidimo ili ono o kome znamo iz sećanja drugih? Šta je to što, zapravo, treba ovde revitalizovati? Kako rekonstruisati, i zbog čega? Da li smo odgovorni ili se igramo odgovornosti? Zastanite, provedite koji trenutak u mračnoj sobi sa odrazom Savamale. Možda okrenuta slika donese neko rešenje ili bar priznanje. Oni posmatrači koji imaju tu sposobnost da vide iza ćoška, pa čak i oni koji imaju tu sposobnost da vide malo dalje od svog nosa, u intimi kamere opskure, usred buke i mase dešavanja, primetiće da Savamala ima i neka druga lica koja nisu očigledna, već je potrebno izdvojiti neko vreme da se oči priviknu i da slika postane jasna. Kristina Grebenar 3 The art installation Can you see around the corner? aims to interpret visual identity of Savamala by using camera obscura. It raises the question: which of the optical illusions is the first, the original, the real one? The images, which we are able to perceive through the senses of sight, owe their visuality to refraction of light rays in our eyes. Therefore, what we think is real, is actually an illusion just like an inverted image in the camera obscura. One apparently trivial change in the point of view raises questions about entities which are taken as such; gives viewers the opportunity to re-examine their beliefs; to experience this neighborhood as aesthetically rich core; to ask themselves about many contradictions this place carries. The image inside the camera obscura raises many questions: are truck noises and air pollution the causes of the unpleasant feelings in Savamala streets or is it guilt, awareness that we have done nothing about the real revitalization of this place? What is the real face of Savamala - This, what we can see now, or that whom we know about from the memories of others? What is it, in fact, that should be revitalized? How to reconstruct it, and why? Are we responsible or are we just playing a game of responsibility? Take a break; spend a few moments in a dark room with the reflection of Savamala. Those observers who have the ability to see around the corner, and even those who have the ability to see a little further than their nose, in the intimacy of the camera obscura, in the middle of noise and mass events, they will notice that there are some other forms of Savamala that are not readily apparent, for which is necessary to allocate some time for the eyes to adjust and the picture becomes clear. Kristina Grebenar Na fotografiji: Anđela Milinković, Kristina Grebenar, Bojana Andrić

6 OPASNO JE RAZMIŠLJATI O KOJEČEMU THINKING ABOUT NONSENCE IS DANGEROUS Umetnik: Luka Tripković, student likovnih umetnosti-vajarstva Kustoskinja: Viktorija Kamilić, istoričarka umetnosti, kustoskinja, MA istorija arhitekture Saradnica kustoskinje/dokumentaristkinja: Tijana Zebić, apsolventkinja istorije umetnosti Artist: Luka Tripković, sculpture/fine arts student Curator: Viktorija Kamilić, art historian, curator, MA history of architecture Curatorial associate/documentary: Tijana Zebić, art history student Rad Opasno je razmišljati o koječemu. predstavlja analizu fenomena državnog preduzeća kao materijalne i neradničke oaze. Rad se fokusira na činovnika kao ključnog nosioca sistema, a prikolica kamioneta gradske čistoće, za potrebe postavke, postaje simulirano kancelarijsko okruženje gde je činovnik ekspert, predstavljen dok spava. Mesto i vreme za njega su nebitni, dokle god se nalazi u svojoj samodovoljnoj mikrocelini, koju čine kancelarijski sto, stolica, natpis sa imenom i činom. U našoj sredini, posao u državnoj instituciji tradicionalno predstavlja cilj kome treba težiti kao garantovano, dugoročno rešenje karijere. Tranzicija i jaz između prošlih vremena i sadašnjice dovode do toga da je ova problematika percipirana drugačije od strane različitih starosnih, intelektualnih i strukovnih grupacija. Jedni vođeni obećanjima sigurnosti o njoj sanjaju i njoj teže, dok drugi sanjaju o tome kako situaciju promeniti i uništiti. U sivoj zoni između želje, sna i osude, ovaj društveni fenomen ipak opstaje. Viktorija Kamilić The art work Thinking about nonsense is dangerous. represents an analysis of the state company phenomenon, as a financial oasis of idleness. The work is focused on the office worker as a key figure in the system, and for the purpose of the exhibition, the trailer of the garbage truck becomes the simulated office space where the office worker the expert, is shown sleeping. For him both time and space are not important, as long as he is in his self-serving micro-space which consists of an office desk, a chair and an inscription with a name and a title. In our environment, a job in the state institution is traditionally considered as a goal that you should aspire to, as a guaranteed, long-term career solution. Because of the state of transition and a gap between the past time and the presence this issue is perceived differently by different generations, intellectuals and professionals. Some of them, driven by the promise of safety, dream of reaching this goal, while the others dream of changing and destroying the situation. In the grey area between a wish, dream and verdict, this social phenomenon still survives. Viktorija Kamilić Na fotografiji: Tijana Zebić, Viktorija Kamilić i Luka Tripković 4

7 PANIC BOX Umetnik: Nemanja Nikolić, slikar, vizuelni umetnik Kustoskinja: Amalija Stojsavljević, istoričarka umetnosti, nezavisna kustoskinja Saradnica kustoskinje/dokumentaristkinja: Tanja Đorđević, apsolventkinja istorije umetnosti Netipična po svojoj strukturi, izložba, odnosno izložbe Kustosiranje: Doživljaj u pokretu unutar projekata Kustosiranje i Mikser festivala 2013, omogućavaju da se u novom svetlu ispita i kritički problematizuje segment urbanog prostora kapitalističkog grada, od skoro predestiniranog za umetnička i kulturna dešavanja. Ako prostor Savamale posmatramo kao prostor onog Drugog u najširem značenju (i umetnost je Drugo u odnosu na dominantni politički i društveni pragmatizam ), otvara se pitanje da li se efemernim događajima potvrđuje to Drugo i na taj način konstruiše njegov identitetski okvir, ili je Drugo u funkciji podizanja ekonomske i tržišne vrednosti nekretnina, koji će u budućnosti Savamalu učiniti privlačnom lokacijom kapitalističkih investitora. Sama problematičnost konteksta utiče na to da se ovaj prostor treba posmatrati kako iz pozicije sada i ovde, tako i u budućoj projekciji tamo i nekad kako bi se sagledala celokuponost. Rad Panic Box obuhvata upotrebu netipičnog medija u javnom prostoru-animaciju, koja je PANIC BOX Artist: Nemanja Nikolić, visual artist Curator: Amalija Stojsavljević, art historian, freelance curator Curatorial associate/documentary: Tanja Đorđević, art history student The exhibition About and around curating: Thrill in movement is atypical in its structure. It was created within the project Kustosiranje and Mikser festival 2013, and provides a new way of research and criticallly reviews the segment of the urban space of the capitalist city which is almost predetermined for artistic and cultural events. If the space of Savamala is viewed as the space of the Other in the broadest sense (and art is the Other in relation to the dominant social and political pragmatism ), a question raises, whether the ephemeral events confirm the Other and in that way construct its identity, or is the function of the Other to raise the economic and market value of the property, which will make a location of Savamala an attractive for the capitalist investors in the future? The very problematic context affects that this area can be considered from the position of the here and now and also from the future projection there and once in order to comprehend the whole picture. Panic Box is an art work which involves the use of atypical media in public space; it is the animation, which was inspired by a short segment of Hitchcock s movie The Birds. In fact, it is a very inspirisana kratkim segmentom Hičkokovog filma Ptice. Naime, u pitanju je veoma kratka sekvenca u kojoj se Melani (Tippi Hedren), zatvorena u telefonskoj govornici, panično brani od ptica. Umetnik transponuje ovu scenu prvo u mediju crteža, a zatim digitalnim putem u zvučni video, odnosno animaciju. Jednostavnom intervencijom u procesu montaže, afektivni pokreti glavne glumice pretvoreni su u beskonačno neartikulisano kretanje. Odsustvom negativca, u ovom slučaju ptica u samom narativu animacije, recipijentu je ponuđen samo njegov pogled. Rad Nemanje Nikolića nije direktno vezan za kontekst Savamale, kao prostora predestinirano umetničkog, budućeg urbanog, već se bavi negacijom označavanja prostora. Prostor postaje mesto kada se označi. Njegov rad ni sadržajno ni formalno nije uzglobljen u predodređeni i očekivani mehanizam funkcionisanja Savamale, što rad u okviru izložbu Kustosiranje: Doživljaj u pokretu čini dodatno interesantnijim, a u kotekstu izložbe i izložbenog prostora kontradiktornijim. Amalija Stojsavljević short sequence in which Melanie (Tippi Hedren) is locked in a phone booth where she is panicky defending from birds. This artist first transposes the scene in the medium of drawing and then into animation. With a simple intervention in the process of assembling, affective movements of the main actress were transformed into endless and inarticulate movements. By not having a villain, in this case the birds, in the narrative of animation, the recipient is offered only his own view. The artwork of Nemanja Nikolić is not directly related to the context of Savamala as a location that is designed as an artistic and future urban space, but it deals with negation of marking space. A space becomes a location when it is marked. His work is not formally or by its content pressed into the predetermined and the expected functioning mechanisms of Savamala, which makes the artistic work in the exhibition About and around curating: Thrill in movement more interesting, and in the context of exhibition and the exhibition space more contradictory. Amalija Stojsavljević Na fotografiji: Tanja Đorđević, Nemanja Nikolić, Amalija Stojsavljević 5

8 PLUTAJUĆI SVETOVI FLOATING WORLDS Umetnica: Marika Troili, vizuelna umetnica Kustos: Andrej Bereta, istoričar umetnosti, nezavisni kustos Saradnica kustosa/dokumentaristkinja: Milica Bobić, studentkinja antropologije Artist: Marika Troili, visual artist Curator: Andrej Bereta, art historian, freelance curator Curatorial associate/documentary: Milica Bobić, anthropology student Zamislite svet u obliku činije koja je ispunjena vodom i plutajućim narandžama. Kada su bile isečene na dva dela, svaka pripada jednoj određenoj polovini koja pluta po vodi. Zajedno one čine celu narandžu. Ova priča se bazira na ideji o pronalasku prave osobe, koju mi je ispričala prijateljica koja je priču čula od svoje bake. Za mene je to bila veoma romantična priča, međutim, danas je vidim u drugačijem svetlu. Zamišljam da je ova priča nešto drugačija i da govori o tome kako su ljudi razdvojeni u današnje vreme. Živimo u globalnom društvu, činija sa vodom se povećava, kao i broj narandži. Biti pokretan/na i dostupan/na je ključno za opstanak. Napuštanje mesta u kom ste odrasli više nije izuzetno, a čak ni izuzetak. Selimo se tamo gde nam je ponuđen posao. Selimo se na mesto gde možemo da preživimo. Deo smo globalne radne snage. Ljudi napuštaju porodice i svoje voljene i ulaze u nove živote. Svaki čovek je ostrvo, svaki čovek je polovina narandže. U instalaciji stojite ispod neba/okeana koji je pun plutajućih narandži. Na stranama kontejnera možete da vidite reprodukcije iz raznih izvora koje stvaraju sliku o stanju kretanja i povećanog individualizma današnjice. Marika Troili Imagine the world as a huge bowl of water full of floating orange halves. Once those oranges were cut in two, each of the halves belongs together with its other half floating in the water. Together they make a whole orange. This is a story about finding the right one. It was once told to me by a friend who heard the story from her grandmother. For me it was a very romantic story, today I see it in a different light. I imagine this story to be about something else, about how people are floating detached from one another in the current time. We live in a global society, the bowl of water is becoming bigger and the oranges are increasing in number. Being mobile and accessible is a key feature for survival. To leave the place where you grew up is no longer exceptional or e en an exception. We move to where we are offered a job. We move to a place where we can make a living. We are part of the global workforce. People leave their families and loved ones and enter into new lives. You are an island, you are an orange half. In the installation you stand under a sky/ocean of floating orange halves. On the sides of the container you see images from various sources trying to give a picture of the condition of mobility and rising individualism of today. Marika Troili Na fotografiji: Milica Bobić, Marika Troili, Andrej Bereta 6

9 PUT SVILE Umetnik: Nemanja Čađo, student arhitekture, vizuelni umetnik Kustos: Srđan Tunić, istoričar umetnosti, nezavisni kustos Saradnica kustosa/dokumentaristkinja: Anđela Milinković, istoričarka umetnosti (MA) SILK ROAD Artist: Nemanja Čađo, architecture student, visual artist Curator: Srđan Tunić, art historian, freelance curator Curatorial associate/documentary: Anđela Milinković, art historian (MA) svoja, je saveznik ekološkoj i kulturnoj obnovi Savamale, kao i svakoj promeni koju prihvatimo prvenstveno kao ličnu. Srđan Tunić Silk Road is criticizing insensibility of locals and, circumstantially, fast life of contemporary people. An invitation to change certain (non)places from being transitory into places that people can enjoy, relax, in other words to feel their own, is an ecological and cultural ally to Savamala s renovation, as well as every change that we accept as being our own. Srđan Tunić Put svile čini prostorna instalacija na otvorenom, koja se po konceptu oslanja na višeslojno i lično umetnikovo iščitavanje Dalekog Istoka (mahom tradicionalne arhitekture i filozofije). Radi se o trakama snežno bele tkanine koje vise o sajlama između drveća, u rasporedu koji je određen samim prostorom. Put svile Nemanje Čađe je prepoznat kao umetnički rad koji je moguće vezati za teme Mikser festivala 2013: tranzit, promena, pokret. Bele tkanine, iako statične, pomeraju se na vetru, dok naziv upućuje na viševekovne trgovačke veze između Azije i Mediterana, kao i pokretnost (ljudi, ideja, materijala). Takođe, Put svile se, u zavisnosti od uslovljenosti svake nove postavke, nadopunjuje i menja, ostajući i sam u stanju tranzita. Sastavni deo rada čini gradsko okruženje sa drvećem, nalik parku, sa protokom ljudi; međutim, kao takav izostaje u Savamaloj, u pojasu gde se održava Mikser festival Tri mesta koja čine i granice festivala su odabrana kao pogodna bašta ispred Mikser House-a, dva bagrema ispod Brankovog mosta i grupe četinara ka Beton hali. Suočili smo se i sa izazovom nelegalnog korišćenja javnog prostora, usled kratkog roka za postavku i boravka umetnika u Beogradu, što je celom radu nenadano dalo jedan gerilski pristup, iako je to značilo da je život rada tokom trajanja festivala doveden u pitanje. Dosadašnje postavke rada (uključujući i trenutnu) su (pre)trpele uništavanje, izazvano manje vremenskim nepogodama, a više ljudskom (ne)odgovornošću, postajući mesto sukoba. Ovaj neplanirani deo rada je došao do izražaja tek po njegovoj postavci na otvorenom i interakcijom sa Savamalskim prolaznicima i publikom. Put svile kritikuje neosetljivost lokalnih stanovnika i, posredno, brzog života savremenog čoveka. Poziv da se pojedina (ne)mesta promene u prostore koji nisu prolazni, već mesta gde ljudi mogu da uživaju, drugim rečima da ih osete kao Silk Road consists of an ambient open-air installation, aligning by concept on multilayered and personal artistic reading of the Far East (mainly traditional architecture and philosophy). It is made up of stripes of snow-white textile connected by cables and hanging between trees, directed by the ambient itself. Silk Road by Nemanja Čađo was recognised as an artistic work that could be linked to the topics of Mikser festival 2013: transit, change, movement. White textiles, although static, are easily set in motion by the wind, the artwork title is relining on centuries-long trade routes between Asia and Mediterranean, as well as mobility (of people, ideas, and materials). Also, depending on prerequisites of every new setting, Silk Road is being changed and updated, thus being in constant state of transit. One of the key elements of the artwork is an urban park-like environment with trees, with an everyday flow of people; but that kind of ambient is missing in Savamala, where Mikser festival 2013 takes place. Three spots were selected as available, making a borderline of the festival itself: garden in front of Mikser House, two Black Locusts underneath Branko s bridge and groups of conifers toward the Concrete hall. We were faced with a challenge of illegal use of the public space, due to short time for the setting and the artist s staying in Belgrade, which all gave the artwork an unexpected guerrilla approach, although the life of the artwork itself during the festival might have been in question. Previous artworks (including the present one) were prone to destruction, caused less by weather conditions, but more by human (ir)responsibility, becoming a conflict space. This unplanned element has come to the fore after the artwork setting in open-space and interaction with Savamala visitors and locals. Na fotografiji: Anđela Milinković, Srđan Tunić, Nemanja Čađo 7

10 UTVARE SAVAMALE Umetnik: Vuk Ćuk, apsolvent primenjenog slikarstva Kustos: Vladimir Bjeličić, istoričar umetnosti Saradnica kustosa/dokumentaristkinja: Gordana Tatić, istoričarka umetnosti Rad Vuk Ćuka predstavlja specifičnu ambijentalnu instalaciju koja reflektuje umetnikovo zanimanje za konstrukcije alternativnih identiteta i njihovu reprezentaciju u javnom prostoru Savamale, a u odnosu na džentrifikaciju i upliv novog kapitala. Celina se sastoji iz dva dela - spoljne opne i jezgra. Cerada (spoljna opna) na kojoj je umetnik intervenisao crtežom, stoji kao okosnica rada, na njoj su skicirane različite marginalizovane društvene grupe (seks radnice, bombondžije, šibicari) ili prosto UTVARE, karakteristične za Savamalu. Jezgro je ispunjeno otelotvorenjima UTVARA, odnosno lutkama, začudnim i bizarnim, i obasuto zaslepljujućom svetlošću stroboskopa. Dva sloja rada se preklapaju, potcrtavaju, sugerišući atmosferu zabranjenih zadovoljstava, strasti i histeričnog smeha. Naime, Savamala u savremenom trenutku predstavlja potpuno šizofreno gradsko jezgro. Reč je o kraju obeleženom istorijom i spomenicima, međutim, koji u percepciji Beograđana ima primarno negativnu, ali i pozitivnu konotaciju. Činjenica da se u njemu nalaze jedan od prvih i jedinih porno bioskopa Partizan, gay klub, niz kafana udžerica, štajga, autobuska i železnićka stanica sugeriše na fluktuaciju raznih profila ljudi posebno tzv. nižih slojeva društva, ili malograđanskim žargonom polusveta, daje mu lošu reputaciju. Sa druge strane, u poslednjih par godina Savamala postaje centar aktivnosti radnika u kulturi, čiji cilj je revitalizacija i regeneracija kvarta. Otvaraju se kulturni centar, klubovi, dizajnerski studiji, pa samim tim dolazi do još veće koncentracije raznih društvenih slojeva ovoga grada. Upravo zbog toga Ćuk simbolički koristi motiv gužve. Na ograničenoj površini umetnik pozicionira UTVARE koje su zbijene, nužno upućene jedna na drugu. Uslovno rečeno, konforontacija prikazanih karaktera zapravo sugeriše neku vrstu suludog kolektivnog duha, neovisno o različitim interesima i senzibilitetima. GHOULS OF SAVAMALA Artist: Vuk Ćuk, applied arts student Curator: Vladimir Bjeličić, art historian Curatorial associate/documentary: Gordana Tatić, art historian The artwork of Vuk Ćuk represents a peculiar ambient installation which reflects his interest in potential constructions of alternative identities and their representation in the public space of Savamala upon gentrification and arising of new capital into this district. The whole work functions in two layers the outer shell and the inner core. Plastic foil (the outer shell) on which the artist himself intervened with drawings stands as an integral part of the whole; the foil is covered with depictions of various marginalized social groups (sex workers, candy man, frauds) or just GHOULS, which are characteristic of Savamala. The inner core is filled with embodiments of GHOULS or mannequins, awkward and bizarre, and it is covered with blinding light of stroboscope. Those two layers actually undermine each other, they are parts of the same narrative, suggesting atmosphere of forbidden pleasures, passions and hysterical laugh. At present moment Savamala represents a fully schizophrenic town district. Actually, this very hood is marked with history and monuments, but, in the perception of people from Belgrade has primarily negative, and at the same time positive connotation. The fact that one of the first and only porn cinema Partisan, gay night club, series of traditional cafés, bus and train station are situated in Savamala suggests fluctuation of a large number of people, especially those lower strata of society or in a petty jargon demimonde, gives this district a bad reputation. On the other hand, in the past few years, Savamala becomes vital in the sense of initiatives of cultural workers who aim to revitalize and regenerate this district. Cultural centers, night clubs, designer studios are being opened, and therefore even larger spectrum of various social groups interact. In that exact context Ćuk is using the motif of a tussle. On a limited surface of the canvas the artist positions GHOULS which are densely stuck with Stoga, kako dotični deo grada postaje neka vrsta rezervata, utopijskog prostora marginalizovanih društvenih grupa, bilo da je reč o radnicima u kulturi, najamnim radnicima ili seks radnicima, Ćuk konstatuje zatečeno ili permanentno vanredno stanje te njegova instalacija predstavlja satiru datih okolnosti. Vladimir Bjeličić each other. In a certain manner, confrontation between characters shown implies a berserk collective spirit, despite the different interests and sensibilities of their own. Therefore, as Savamala becomes some kind of sanctuary, utopian place for marginalized social groups, whether cultural workers, construction works or sex workers, Ćuk asserts encountered or permanently emergent situation and that is why his installation presents a spoof of given circumstances. Vladimir Bjeličić 8

11 Pre odjave programa Za izložbeni projekat Kustosiranje: Doživljaj u pokretu, kao centralni umetnički program Mikser festivala 2013, dobili smo kao predloge: jednu ideju (tranzit), jedinstvenu lokaciju (Savamala), neke resurse gradskih službi (konkretno, mala vozila Gradske čistoće Beograda) i malo vremena (uvek je malo vremena ) da oblikujemo ceo koncept. Odlučili smo se da eksperimentišemo, pa smo na izazov ovako odgovorili: formiraćemo tročlane kreativne timove, čiji glavni zadatak će da bude da, iz jasno opisanih uloga, razviju idejuodgovor i ponude rešenje u vidu novonastalih umetničkih radova, tokom 5 nedelja intenzivne saradnje, unutar sopstvenog tima, ali i u interakciji sa drugim timovima. Tročlana ekipa, u jasno postavljenim ulogama- umetnik/ca (Nemanja Nikolić, Bojana Andrić, Nemanja Čađo, Marika Troili, Luka Tripković, Vuk Ćuk, Maja Obradović), kustos/kinja (Nemanja Popović, Viktorija Kamilić, Amalija Stojsavljević, Kristina Grebenar, Vladimir Bjeličić, Andrej Bereta, Srđan Tunić) i saradnik/ca kustosa/kinje- dokumentarista/kinja (Milica Bobić, Tijana Zebić, Anđela Milinković, Tanja Đorđević, Gordana Tatić) je odabrana kroz prethodno obavljene intervjue i Javni poziv za učestvovanje. Na bazi njih smo, uz pomoć Miroslava Karića i Kristine Nikolić pokušali da postignemo perfect maching, ili barem najpribližniji, vodeći računa o prepoznatim kreativnim potencijalima svakog ponaosob, ali i o karakternim predispozicijama, koje smo uočili. Inicijalno smo formirali pet timova, ali su kasnije pridodata još dva, za umetnike iz inostranstva, koje smo posebno selektovali, i čiji smo kustosi bili mi, kao autori projekta Kustosiranje. Posmatrano strukturno, u svakom timu su razvijane ideje na relaciji umetnikkustos, uz budno oko dokumentariste, koji je pratio celokupan proces rada, od brainstorming-a, odabira medija i načina realizacije, pa sve do naizgled trivijalnosti, u formatu svakodnevno osvežavanog bloga ( com/). U praksi, svih troje su otvoreno sarađivali, nekad menjajući pozicije, dopunjujući jedni druge. Nije postojala vertikalna podela uloga, dakle niko pojedinačno nije imao poslednju reč. Teško je naći jedinstven opis funkcionisanja svake grupe, jer je, svaka pojedinačno, gradila vlastiti način komunikacije i rada; ali se čini da su umetnici predlagali medij, a kustosi način realizacije. Česti susreti svih timova zajedno uz javno prezentovanje aktuelne faze rada su doprinosili jasnijem uvidu svih o vlastitom procesu rada, ali i nastanku cele izložbe. Naša namera je i bila da svako razmišlja o vlastitom radu, uz svest o celokupnom izložbenom projektu, koji zajednički nastaje. Ipak, jedan od sedam kreativnih timova je bio, izgleda, neuspešno uklopljen; pa je, već na početku izložbe, povučen njihov rad, na insistiranje umetnice, što je celokupan koncept izlaganja delimično poremetilo. Proces osvajanja zajedničkog koncepta izložbe je, dakle, bio generički, bez unapred determinisanih željenih dometa, sa jednakim okvirom za sve kreativne timove, u svakom pogledu (isti budžet na raspolaganju, tehnička podrška, slobodan izbor medija, načina realizacije). Rezultat svakog tima je bio potpuno različit, ma kako da smo se trudili da tehnički ujednačimo ritam. To je, izgleda, bio, samo dodatan podsticaj za još više pojedinačne kreativnosti. Mi smo nastojali da budemo dosledni, kada je reč o specifikaciji svih stvari potrebnih za produkciju, troškova svake pojedinačne stavke, krajnjih rokova pojedinih etapa rada, insistiranju na tačnosti i preciznosti, u poslovnom smislu, s namerom da još jednom sebi dokažemo kako je samo odgovoran i profesionalan pristup ključan za ostvarenje kvalitetnog/ željenog rezultata. Timski rad, kao važan preduslov za dobar rezultat, je nešto što uporno negujemo, baš kao i potrebu da mešamo krv ljudi iz različitih usmerenja, akademskih ili profesionalnih, pa su tako, ovaj put, osim akademskih umetnika i istoričara umetnosti, bili uključeni antropološkinja i direktorka fotografije. Da bismo, konačno, izložbu učinili dostupnijom i razumljivijom publici, svakodnevno su članovi timova bili prisutni pored svojih radova, kamioneta- postamenata, i aktivno su učestvovali u Javnim vođenjima, koja su se dešavala i više puta dnevno. Volonteri (Dragana Ljubenović, Petar Đurić, Ana Milojević, Sanja Disić, Đorđe Vidojević, Dragana Stokić, Sofija Ilić), koji su želeli da sarađuju u ovom projektu, odabrali su nedelju dana pred realizaciju svako svoj tim, i tako, postali skoro integralni deo pojedinačnih kreativnih grupa, i imali su važan zadatak da budu više od čuvara i najbliže neposrednoj medijaciji između rada i publike, svakog dana trajanja izložbe Kustosiranje: Doživljaj u pokretu, odnosno Mikser festivala. Za kolegu Srđana Tunića i mene, kao kustose izložbenog projekta, obavezna mobilnost većine radova je, zapravo, bio poseban izazov. Naime, sva vozila na kojima su instalirana dela su se nalazila na parkiralištu, do 17 časova, kada su dve veoma frekventne ulice (Braće Krsmanović i Travnička) zatvarane za saobraćaj, što je bio signal da se dela izvezu i postave na unapred predviđene lokacije. To je otvorilo mogućnost da svakog dana postavite izložbu na drugačiji način, i da ponudite nov način isčitavanja postavke, jer je uzajamnost pojedinačnih dela u drugačijem odnosu, a njihova značenja, ili barem apstrahovane ideje se svakodnevno na drugačiji način mogu ukrštati. To je bila, istovremeno, i svakodnevna borba- kako se izboriti za odgovarajući prostor za svaki rad ponaosob, u mnoštvu drugih, pratećih vizuelnih sadržaja festivala. Šta ostaje za Savamalu? Uglavnom ništa, sem pamćenja o velikoj gužvi, galami, događajima koji su ispunili festival, bez velike veze sa stvarnim životom ovog dela grada. Šta uopšte može da se učini kao nega (curating) jednom namerno/ stihijno zanemarenom kraju grada? Stalno je prisutna preteća mogućnost da će jednog jutra invazija žutih mašina dati konačno rešenjerušenjem, poravnavanjem, urbanom, socijalnom i ekonomskom prekompozicijom; kristalno jasnim redefinisanjem pojma džentrifikacije, jezikom skorojevićke bahatosti Srbije s početka XXI veka, ali i onih koji stoje sa strane i kritizerski kibicuju, ne čineći, zapravo, ništa. Možda umetnička dešavanja mogu da učine nešto više- skrenu pažnju, u potrazi za sebi imanentnim odgovorima, održe prisutnošću fokus na Savamaloj. Ili, barem da je malo oplemene. Andrej Bereta, Kustos- istoričar umetnosti, Koautor projekta Kustosiranje Ponosni na realizaciju izložbe Kustosiranje: Doživljaj u pokretu, kako u organizacionom smislutokom pripremnog perioda, ali i tokom procesa realizacije, zahvaljujemo se na razumevanju (i kada sami sebi nismo bili najjasniji, ali uvereni da znamo šta radimo ) i potpunoj podršci celokupnoj Mikser organizaciji, svim tim vrednim ljudima, a posebno direktorima Maji Lalić i Ivanu Laliću. 9

12 Before check-out For developing the exhibition project About and around curating: Thrill in movement, as the central artistic programme of Mikser festival 2013, we received as an input: an idea (transit), a unique location (Savamala city quarter), some resources from the city (small vehicles of Belgrade s Sanitation service) and little time (it s always little time...) to develop the entire concept. We decided to experiment, and challenged by this proposition, came up with an output: we will form creative teams made of three members with defined roles, having the main task to develop an idea, to answer and suggest a solution based on new artistic works during 5 weeks of intense collaboration, within the teams, as well as with other teams. Creative teams consisted of three members, with clear roles- the artists (Nemanja Nikolić, Bojana Andrić, Nemanja Čađo, Marika Troili, Luka Tripković, Vuk Ćuk, Maja Obradović), the curators (Nemanja Popović, Viktorija Kamilić, Amalija Stojsavljević, Kristina Grebenar, Vladimir Bjeličić, Andrej Bereta, Srđan Tunić) and curatorial associates/ documentarists (Milica Bobić, Tijana Zebić, Anđela Milinković, Tanja Đorđević, Gordana Tatić) were selected through interviews and an open call. On those premises, with the support of Miroslav Karić and Kristina Nikolić, we tried to make the perfect matching, or at least the most suitable one, taking care of acknowledged creative potential of each participant, as well as the predispositions of tempers. Initially, we formed five teams, but later on included two extra, for artists coming from abroad, being selected and curated by us, as authors of About and around curating project. Looking at the structure, in every team the ideas were defined by the artists-curator relation, under the guardian eye of the documentarists, who were tracking the entire working process, from brainstorming, selection of the media and realisation, all through everyday blog posts at com/. In practice, all three team members were collaborating openly, sometimes shifting their positions, being supplementary for one another. No vertical role model was envisioned, so nobody could give the final word. It is hard to describe a unique model of collaboration of each team, because each of them developed their own way of communication and work; it seems that the artists were suggesting the media, and the curators suggested the ways of realisation. Frequent meetings of all teams, with up-to-date presentations of artworks, gave an important insight into individual work in progress, but also tracking the development of the entire exhibition. Our intent was to keep everyone focused on their own work, both conscious of the whole exhibition project, being parallel developed. Nevertheless, it seems that one of the seven creative teams was misfit; at the beginning of the exhibition, their work was withdrawn, on the artist s insistence, which partially affected the exhibition concept. The process of conquesting the mutual exhibition concept was a generic one, without pre-determined range, with equal framework for all creative teams (same production budget, technical support, free choice of media, and ways of realisation). The final result of every team was different, although we were trying to have a steady rhythm (technically). It seems, actually, that was the reason for fostering more individual creativity. We were persistent to be consistent, when dealing with production specifications, budget expenses, deadlines of each project phase, insisting on being precise, in business manner, with intent to prove once again that only responsible and professional approach is the key factor to have a quality/ desired result. Team working, as an important prerequisite for having good results, is something that we are constantly nurturing, as well as mingling people from different vocations, academic and professional, thus having on this project academic artists and art historians, as well as director of photography and an anthropologist. To make the exhibition accessible to the wider public, team members were present on every-day basis next to their works, trucks- postaments, and actively participating in Public guidances. Volunteers (Dragana Ljubenović, Petar Đurić, Ana Milojević, Sanja Disić, Đorđe Vidojević, Dragana Stokić, Sofija Ilić), who expressed eagerness to participate in this project, had chosen their team one week before the official opening, and thus had become an integral part of the creative groups, having an important role to be more than guardians, closest to immediate mediation between the artwork and the public, every day during the About and around curating: Thrill in movement exhibition at Mikser festival For my colleague Srđan Tunić and myself, as curators of the exhibition project, necessary mobility of artworks was a special challenge. All truck with mounted artworks were on a parking lot till 5 P.M., when two frequent streets (Braće Krsmanovića and Travnička) were closed for city traffic, being the signal to take out and set the artworks on required locations. This context gave us the opportunity to set the exhibition in different ways every day, providing a new way of reading the exhibition setting, based on the relations and meanings of all artworks, or as abstracted ideas with a chance for cross-intersection. This challenge was also our everyday fight- how to get a desired and appropriate space for each artwork, faced with the presence of many other accompanying, visual programmes of the festival. What is left for Savamala afterwards? Mostly nothing, except for the memory of a great fuss, crowds of people, festival events, without any true connection to the everyday life of this part of the city. What can be done, by curating a deliberately and uncontrolled neglected part of the city? Constantly present possibility is a threat of an invasion of yellow construction machines which may give the final solution- destroying, aligning the landscape, urban, social and economic recomposing; crystal clear redefining of the term gentrification, using the language of Serbia s arrogant upstarters at the beginning of the 21st century, as well as those critics who stand from a distance and ogle, without doing anything on the site. Maybe the artistic manifestations could do something moreto grab attention, finding answers according to its immanent means, keeping the focus on the Savamala. Or, to try to refine it a little bit. Andrej Bereta Curator- Art historian Co-author of About and around curating project... Being proud on the realisation of the exhibition About and around curating: Thrill in movement, in organisational way (preparatory period), as well as during the process of realisation, we would like to thank for understanding (even in those moments when we were not totally clear, but certain to know what we are doing...) and complete support to the Mikser organisation, to all hard working individuals, especially to directors Maja Lalić and Ivan Lalić. 10

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14 Impresum Kustosiranje: Doživljaj u pokretu, izložbeni projekat na festivalu Mikser About and around curating: Thrill in movement, exhibition project at Mikser festival Direktori vizuelnog umetničkog programa: Andrej Bereta i Srđan Tunić, kustosi istoričari umetnosti, autori projekta Kustosiranje Directors of visual artictic programme: Andrej Bereta and Srđan Tunić, curators art historians, authors of the project About and around curating Učesnici i autori izložbi / Participants and exhibition authors: PANIC BOX Nemanja Nikolić, slikar, vizuelni umetnik / visual artist Amalija Stojsavljević, istoričarka umetnosti, nezavisna kustoskinja / art historian, freelance curator Tanja Đorđević, apsolventkinja istorije umetnosti / art history student JE L TI MOŽEŠ DA VIDIŠ IZA ĆOŠKA? / CAN YOU SEE AROUND THE CORNER? Bojana Andrić, direktorka fotografije / director of photography Kristina Grebenar, apsolventkinja istorije umetnosti / art history student Anđela Milinković, istoričarka umetnosti (MA) / art historian (MA) UTVARE SAVAMALE / GHOULS OF SAVAMALA Vuk Ćuk, apsolvent primenjenog slikarstva / applied arts student Vladimir Bjeličić, istoričar umetnosti / art historian Gordana Tatić, istoričarka umetnosti / art historian Volonteri / Volunteers: Ana Milojević Đorđe Vidojević Dragana Ljubenović Dragana Stokić Petar Đurić Sanja Disić Sofija Ilić Foto / Photo: Branka Nedimović Str. 4, fotografija tima Bojan Arsenović Str. 11 fotografije učesnika projekta Dizajn kataloga / Catalogue design: Milena Savić Lektura / Proofreading: Snežana Stanković (EN), Milica Bobić (SR) OPASNO JE RAZMIŠLJATI O KOJEČEMU / THINKING ABOUT NONSENCE IS DANGEROUS Luka Tripković, student likovnih umetnostivajarstva / sculpture/fine arts student Viktorija Kamilić, istoričarka umetnosti, kustoskinja, MA istorija arhitekture / art historian, curator, MA history of architecture Tijana Zebić, apsolventkinja istorije umetnosti / art history student PUT SVILE / SILK ROAD Nemanja Čađo, student arhitekture, vizuelni umetnik / architecture student, visual artist Srđan Tunić, istoričar umetnosti, nezavisni kustos / art historian, freelance curator Anđela Milinković, istoričarka umetnosti (MA) / art historian (MA)... Produkciju i realizovanje ovog projekta su podržali / production and organisation of his project has been supported by: Mikser organizacija i festival, Beograd / organisation and festival, Belgrade Ambasada Švedske u Srbiji / Embassy of Sweden in Serbia Udruženje građana ARTIKAL, BEOGRAD / Civil Association ARTIKAL, Belgrade aha + knap d.o.o, Banja Luka Foto image, Beograd / Belgrade Beograd / Belgrade PLUTAJUĆI SVETOVI / FLOATING WORLDS Marika Troili, vizuelna umetnica / visual artist Andrej Bereta, istoričar umetnosti, nezavisni kustos / art historian, freelance curator Milica Bobić, studentkinja antropologije / anthropology student 12