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  • 7/28/2019 Black&White Serbia

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    , , 2012NI Museum of Contemporary Art, Skopje, April 2012

    Ljubomir Vucinic

    Zeljka Momirov j

    Vladimir Rristivojevic

    Black & White SerBia

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    forWard

    , Eliza Shulevska, director

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    / Zeljka Momirov

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  • 7/28/2019 Black&White Serbia

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    / Vladimir Ristivojevic

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    / Ljubomir Vucinic

    / Inscriptions, 2008

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    Zeljka MoMirov

    Born 1962 in Novi Sad. Graduate (1987) and postgraduate

    (1993) at University of Arts in Belgrade Faculty of Applied

    Arts, sculpture in space and architecture. Worked as aprofessor in the Academy of Fine Arts in Pristina (1993 1995) and in the Academy of Fine Arts in Belgrade (2001

    2006). Since 2008. she works as art director in Block Gallery

    in Belgrade.

    Solo exhibition: Belgrade 1987, 1988, 1989, 1991, 1993,

    1996,1999, 2001, 2002, 2006; Ulcin 1988; Tivat 1988;

    Bar 1988, 1990; Vrbas 1988; Zadar 1989; Kovin 1990, 2004; Zemun 1991; Zrenjanin 1992, 1997; Kikinda

    1992; Krusevac 1997; Nis 1998; Gorni Milanovac 1998; Kraguevac 1998; Apatin 2001; Smederevo 2003;

    Los Angeles 2003; San Pedro 2003, 2004: Kraljevo 2004; Novi Sad 2005; Sabac 2005; Uzice 2006.

    vlaDiMir riSTivojeviC

    Born in Loznica, 1953. Graduated at the Academy of the Fine

    Arts in Sarajevo, Department of Graphics, 1979. Memberof ULUH (Croatian Association of Fine Artists), Split 1984

    1992, and ZUH (Croatian Union Artists) 1988 -1992. Member

    of ULUS (Serbian Association of Fine Artists) since 1992.Lives and works in Belgrade, Serbia, as an independentartist.

    Solo exhibitions: Loznica 1984; Split 1987; Hedikhuizen

    1992; Belgrade - 1994, 1998, 2006, 2007, 200 8; Pozarevac

    1995.

    ljuboMir vuCiniC

    Born 1956. in Novi Sad. Graduated (1982) and postgraduate

    of graphic (2002) at the Academy of Arts in Novi Sad. Worked

    as editor of Ar t program at the Cultural Center of Novi Sad,

    as well as art editor Polja. Member of artistic board INFANT

    (International Festival of Alternative and New Theatre). Lives

    and works as a assistant professor (200 5) at the Academy of

    Arts in Novi Sad, Srbia.

    Solo exhibitions: Belgrade - 1982, 1987, 1990, 2006, 2008,

    2010; Novi Sad - 1983, 1990, 2002, 2003, 2006, 2007, 2008;

    Kikinda 1986; Apatin 1990; Pancevo 2004; Su botica

    2004; Nis 2004; Zrenjanin 2005.

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    We perceive the exhibition Black & White Serbia and we try to

    understand and relate this expression to the recent events on

    the particular artistic scene. This is why the oered concept

    of the three artists necessarily became a challenge, related

    to the initial encounter with the long list of events or with

    the relevant Serbian current art production.

    The spectrum of concepts incorporated into the project B &

    W Soer the basic challenges, most of all, of respecting the

    inclination towards certain Modern components.

    The rendered visual situations also provided the balancewith the current moment, sucient to be manipulated with,

    but with a limited intensity. It retrogradely addresses thePostmodern spirit to register these occurrences. It is more

    dicult to note the nal status of the artworks, but the exible

    attitude towards dening of this array of plastic relationsapproach the desired denition of the oered presentation.

    Its actors chiey want to retain the pictorial aspect of theoccurrence which is further on dimensioned as a particular

    objectivity of the show, occasionally rendered as gestalt. This

    attitude towards art results in numerous implications which

    together compose the platform they proceed from: formsof abstract art varied in the age of Postmodernism whichmeans a direction towards the actual plastic reality (the inner

    instance alternatives and equal to the subjective revelations).

    Their system of attitudes is actually related to the intention

    of creating a composition game by using relatively identical

    elements in the role of constructing the mental systemrelated to composing of relatively acceptable wholes. Thenal optical eect shows a tendency to secure an equalized,

    integrative impression of the sight. This is why it can bedened only within the separately conceived groups ofpictures or objects, or concurrently occur as a substitute ofthe black & white or plastic & relief attitude towards theparticular artwork. The absurdity of the concept seems real

    at rst sight, but the further analysis shows moments that

    semantically change the particular occurrence of the oered

    works. Some of them are with transparent resolutionof the

    digitalized prints and recognizable contents. The others are

    combined on the wall surface into a series of black paintings

    (from two to four), with a shallow relief facture. The thirdones are black encased paintings with several white collage

    miniature accents, works that function in the free space - a

    plastic feature that continues to exist as an installation. The

    end is, however, under the monochromatic sign which isrelated to an intuitive factor of globalizing of the phenomena

    in the art, where the local is erased (although the idea of this

    project is contained in he title, yet it is not directly explained).

    It is discerned only from some background reections ofthe artists (more precisely, with the short explication of .Momirov): The project Black & White Serbia is conceivedby a group of artists with the intention to turn the synergy

    rendered from personal sensibilities into a united picture

    ON black & white

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    whose general visibility speaks about the feelings proceeded

    from the general condition through a personal viewpoint.The personal views of the recent active and veried artists

    in themselves possess meaning and established quality,but what separates this project from the usual expositionsis the form of collaborative action where the individual does

    not lose its signicance, but integrates it into a conceivedtotal which polyphonically and harmonically inuences the

    perception on a higher social level. The artists themselves

    are aware that they are conceptually integrated into a grouparrangement with their visions-feelings which present their

    feelings with a juxtaposition for reading of their personalstatements. The project is shifted in relation to the usualpositions within the medium dimensions and is opentowards the medium fusions and the new interpretationsof the stable conventions, positioned in the new currents of

    the contemporaneity, interpreted through the viewpointsof the general interaction. The dierences initiated by theproject B & W Sare aimed towards the form of researchthat follows the creative principles and the attempts whose

    nal products are not only artifacts but also evidence of the

    positions within a time frame. The methods used by each ofthe artists are subjective, almost singular, and are presented

    in the varieties of the artistic disciplines.

    We are here encountering situations where the eorts of the

    artists reach the level of marginalization of the positions with

    a wider analytical spectrum related to the crucial segmented

    meanings. In a certain way they destabilize their solutions

    and, to a smaller extent, also the critical reviews on them.

    The safest way is to analyze their formal anachronous visual

    idiom. Although it has become a commonplace, which isthe rst impression on this exhibition, there are, however,other interpretations. They are already elaborated in theexperiences of many artists in the world who have usedand are still working in monochrome. The examples are areal component of a particular course of these directionswith an emphasis on the concurrent experiencing of theambient and the individual analyzing and incorporating of

    the additional changes in the process of painting, adaptedto the black background of the canvas or during the ambient

    tting of the artworks.

    The detour in this part of the text was necessary so that webring to mind the fact that the position of their works is related

    to the real moment of their living. At rst sight unburdenedby the possible speculations with the moments related to the

    two decades long nightmare, the three artists from Serbiapersistently make artworks in the spirit of the Modernismwhich has been ocially absent for four decades. Withthem the esthetic aspect is perhaps a priority in the sense of

    respecting the art productshued monochromatically (the

    black-white contrast) or the minimalism with strictly acceptedmodications. But where did they unite when s earching for the

    conceptual context related to the installation. It is supposed that

    they both individually and parallelly t into the conception and

    setting of the artwork in the particularly chosen ambient. The

    Museum of Contemporary Art is faced with the responsibility

    to provide a large surface for a real display of the concepts of

    these artists. Although in a reduced form, the chance of an ideal

    picture of the project is intuitively announced because it oers

    more presentation variations. The artists even have their own

    conrmation of the solutions adapted to the showrooms, like

    the example with the art pavilion Cvijeta Zuzoriand other

    ocial or alternative showrooms.

    Further on, it is important whether they would maintainthe compactness of their considerations. It is conrmed thatin these postmodern turbulences it is possible to changethe method of uniting of the visual entities related to theprevalence of the black, less black-white (which is part of the

    title and, actually, prefers a sucient level of irony which issupposed to be the sign of the exhibition). Are we revealing the

    initial observations of he display? Without reading the title, it

    will in itself take us to dierent waters which is already present

    in the so far published reactions in the texts about them.Considering the array of the mentioned formalistic v iewpoints,

    what remains is to nd the deep concepts of the individualprojects. With each of them we can determine directions with

    the positioning of the artworks with close clauses. The dark and

    the light are clear indicators of the imagined particular states.

    The intimate can not be completely eliminated although it is

    essential to retain the connection with the features that haveemphasized universal reection.

    This is why the narrative in the Serbian art of the 1990sinitiated the experiencing of the dierent. The return to the

    minimalism, that is, the monochrome idiom, is a signicant

    factor for partially changed attitude towards this artisticmood. It was these few who conrmed the continuity ofthe existence of the modernistic qualities where the esthetic

    dimension took over the responsibility in the new socialconstellations. The references sublimed like this possess their

    own parallelism because they are a powerful weapon forovercoming the crisis, understood as a creative constituent

    with expanded views. Therefore, this project representsits own multi-layered aspect which might have, and hasmultiple experiencing as an event.

    Short comments on each of them could result in dierentnotes due to the independent engagement of each of them.

    eljka Momirov (she initiated the realization of thisexhibition) as an individual can offer a relatively richand diverse opus. She practices the relation of the ctive

    black-white and focuses on the objective where she clearly

    quotes familiar pictures or symbols. Her narration is without

    pronounced ideological background. She rather faces theintimate challenges of sculptural character. Her self-portrait or portrait is often on the level of multiplied visual

    impression, applied on transparent surfaces, upon whichshe coats one toned color. She considers them as drawings

    in space.

    Almost without exception the works of this artist are notmade of only one piece, so they are not single objects, but

    complex entities composed of two equal and complementary

    elements or often of a number of identical or very similarelements which are included in particular series exactlyas much as is required by the basic idea which drives thelaws of formation of such a work. Therefore, most of these

    works count either on wall or on oor surfaces... thanksto the intrusions and the role of the light between thenotches of the modular structure which is thus modiedinto a work with changeable visual situations or on otheroccasion by introducing regular abstract geometric structures

    of the surprising objective motif of a rose as a symbol of

    multiple or multi-meaning denotations, and not only bythe existing, codied codices and connotations, but also by

    quite subjective and intimate needs of the artist herself.(Jea Denegri, in the preface to the catalogue, 2006).

    The other two artists use the black as a real basic segment

    in composing a cultivated monumental sight.

    Vladimir Ristivojevi is inclined to replicate Ad Reinhardt(that is, he intents to reconstruct, to remind of his historical

    display - the 1966 installation in New York) - the blackbackground shapes his works which extend the sight asa group. In that sense, Jea Denegri (in the preface to thecatalogue, 2009) unites and denes these experiences: So,

    to paint today and here black monochromes means that itimplies two basic facts: it means to respect the traditionof Modernism proceeding from the historical abstractionthrough the post-war painting on the battle elds all theway to the Minimalism... The painting with mental andconceptual features like the one practiced by VladimirRistivojevi is today a rare and exclusive artistic discipline.This painting proves to be a deliberately based position

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    defending the complete autonomy of the ar t in the context

    the art in the time of bio-politicsand the art in the time

    of the mass media. But when in extremely minor position,

    the painting of these self-reective features suddenlyacquires the strength of subversion in respect of the major

    contemporary art practices. It is this subversiveness thatactually composes the active cultural and social role of the

    pure mental and visual painting of the contemporaneity.

    Close to him is Ljubomir Vuini, but his idiom is

    supplemented by creative action which is meant to changethe character of the p ainting which continues to live on the

    wall as a reection of the additional light eects rendering

    the shadow of the object, that is, a picture showing on the

    wall surface. He explains: ...The installations in the galleries

    or in the open are meant to redene the spatial corpus into a

    new sight with additional cognitive moments. The system of

    the composite structures is established as an ecient artistic

    method in creating the objects fusing them into pictorialmodules and technical constructive elements...

    Their contact with the visions of Robert Reinman and AdReinhardt, and before that with those of the Russian avant-

    garde when the black-white, the black or the white had the

    function of reaction, introduce us into the generally accepted

    references with multiple meanings in the art. What isimportant for us is that they hide in themselves the intention

    for noting the historical-political turbulences. They often

    play with the survival of certain situations as a particularconsequence of the drastic changes. The three artists arein an almost identical system of experiencing the changesduring the 1990s and the beginning of the new millennium.

    The reactions to the recent events are somehow softened in

    their approach to the art work. Accepted and interpreted,they are rather a part of a state of an esthetis-ambientattitude of fragmented views, at one instance united in order

    to send the messagethat they are released of any kind ofpressures and that they concentrate on individual conceiving

    of general views and processed mastering of the pictorialaspect of the arranged ambient. The activity of these artists

    or the presence of their works in a par ticular environmenttends to continue the idea of the modern attitude towards

    the actuality - an attitude that supposes that a particulartradition (in this case, it is the tradition of modernity) is

    to be approached in the same way that tradition tends tofunction. This is the function as a critique - a critique of the

    predecessors and a critique of the contemporaries.

    This is only one of the possible variants to show relativelydierent views on the art, put together on one topic andincorporated into a unique, connected whole.

    Marika Bocvarova Plavevska

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    : , , : , : T: : , , : (): :, : 500

    Editor: ni Msm f Ctmpy at, Sp, rpc f McdEditor in Chief: ez Shs, dctForward:ez Shsxt: M bc PsOrganization of the exhibition:M bc Ps, i Pt, bg vshcTranslated into English: M Hdmt i (texts)Design: Mh MtsPrinted by: Ptct, Sp500 copies

    Msty f Ct f th rpc f Mcd

    2012 / Pgm ctts 2012

    CIP - . ,

    ISBN 978-9989-199-40-0