Program  15.  Međunarodnog  festivala  multimedijalne  umetnosti  - IMAF 2013

Programe of the 15th International Multimedial Art Festival - IMAF 2013 07. 09. 2013. Galerija MAS / MAS Gallery (Studio za multimedijalnu umetnost / Multimedial Art Studio), S.  Markovića  41,  Odžaci  (Srbija  /  Serbia) Fausto Grossi (Španija  /  Spain):  “TEROROM  PROTIV  HORORA  1”  /  “TERROR  VERSUS  HORROR  1”  performans  na  ulici  /  performance  on  the  street Peter Küstermann (Nemačka  /  Germany):  “MAGIČNA  FLAUTA”  /  “THE  MAGIC  FLUTE”  performans / performance Christof Gillen (Severna  Irska/Velika  Britanija  /  Northern  Ireland/UK):  “IMAGINE  A  CITY  OF=”  performans / performance Niclas Hallberg (Švedska/Srbija  /  Sweden/Serbia):  "TRANSFORMACIJA"  /  "TRANSFORMATION“  performans  /  performance Cai Qing (Kina/Singapur  /  China/Singapore):  "VRISKA“  /  “SCREAMS"  performans  /  performance 08. 09. 2013. Galerija MAS / MAS Gallery (Studio za multimedijalnu umetnost / Multimedial Art  Studio),  S.  Markovića  41,  Odžaci  (Srbija  /  Serbia)   Gilivanka Kedzior & Barbara Friedman (Francuska  /  France):  “DOUBLE  BIND”  /  “DUPLA  VEZA”  video  sa  performansa,  2010  /  video  from  the  performance,  2010 Gilivanka Kedzior & Barbara Friedman (Francuska  /  France):  “DOUBLE  BIND  #2”  /  “DUPLA  VEZA  #2”  interaktivni  performans  /  interactive  performance Ema & Radoslav Čugalj (Srbija  /  Serbia):  “RODITELJSTVO”  /  “PARENTING”  performans  /  performance Fausto Grossi (Španija  /  Spain):  “TEROROM  PROTIV  HORORA  2”  /  “TERROR  VERSUS  HORROR  2”  performans  /  performance Gustaf Broms (Švedska  /  Sweden):  “SPAJANJE  #14”  /  “MERGE  #14“  performans  /  performance Stina Pehrsdotter (Švedska/Srbija  /  Sweden/Serbia):  “GLäDJENS  BLOMSTER  (CVEĆE  RADOSTI)”  “GLäDJENS  BLOMSTER  (FLOWER  OF  JOY)”  performans  /  performance   Nenad  Bogdanović (Srbija  /  Serbia):  “MOSTOVI  II”  /  “BRIDGES  II”  performans  /  performance  

09. 09. 2013. Formverk (art zone),  Božidara  Kojića  15,  Banatska  Dubica  (Srbija  /  Serbia) Christof Gillen (Severna  Irska/Velika  Britanija  /  Northern  Ireland/UK):  “HODANJE“  /  “WALKING”  performans  /  performance Stina Pehrsdotter (Švedska/Srbija  /  Sweden/Serbia):  ”CRVENI  SMEH  BLUZ”  /  “RED  LAUGHING  BLUES”    performans  /  performance Niclas Hallberg (Švedska/Srbija  /  Sweden/Serbia):  ”UZMI  KOLAČ”  /  "TAKE  A  CAKE"  performans / performance Gustaf Broms (Švedska  /  Sweden):  “SPAJANJE  #15”  /  “MERGE  #15“  performans  /  performance Nenad Bogdanović (Srbija  /  Serbia):  “SREĆA”  /  ”HAPPINESS”  performans  /  performance   Gilivanka Kedzior & Barbara Friedman (Francuska  /  France):  “STAKLENA  MENAŽERIJA”  /  “THE  GLASS  MENAGERIE”  performans  /  performance Cai Qing (Kina/Singapur  /  China/Singapore):  “NEBESKI  FENJER  DUBICE”  /  "DUBICA'S  SKY  LANTERN" performans / performance 10.  09.  2013.  Galerija  SULUV  /  SULUV  Gallery  (Savez  udruženja  likovnih  umetnika  Vojvodine / Association of Fine Artists of Vojvodina), Bul. Mihajla Pupina 9, Novi Sad (Srbija / Serbia) Ema  &  Radoslav  Čugalj (Srbija  /  Serbia):  “RODITELJSTVO”  /  “PARENTING”  performans  /  performance Nenad  Bogdanović (Srbija  /  Serbia):  “57  SRCA”  /  “57  HEARTS”  performans  /  performance Cai Qing (Kina/Singapur / China/Singapore):  "CRVENA  ZVEZDA"  /  “RED  STAR“    performans  /  performance Niclas Hallberg (Švedska/Srbija  /  Sweden/Serbia):  “STOP”  /  "STOPP"  performans  /  performance 11.  09.  2013.  Galerija  SULUV  /  SULUV  Gallery  (Savez  udruženja  likovnih  umetnika  Vojvodine / Association of Fine Artists of Vojvodina), Bul. Mihajla Pupina 9, Novi Sad (Srbija / Serbia)

József R. Juhász (Slovačka/Mađarska  /  Slovakia/Hungary):  “STAVI  GLAVU  U  PESAK”  /  "BURY YOUR HEAD IN THE SAND" performans / performance Stina Pehrsdotter (Švedska/Srbija  /  Sweden/Serbia):  “TWISTED  ON  THE  BACK)”    performans  / performance Gilivanka Kedzior & Barbara Friedman (Francuska  /  France):  ”HOD  CRVENIH  OČIJU”  /  “RED-EYE  WALK”  pokretni  interaktivni  performans  /  ambulatory  interactive  performance Gustaf Broms (Švedska  /  Sweden):  “SPAJANJE  #16”  /  “MERGE  #16“  performans  /  performance Christof Gillen (Severna  Irska/Velika  Britanija  /  Northern  Ireland/UK):  ”1968-PUTOVANJE-2013”  /  “1968-JOURNEY-2013”  performans  /  performance

NENAD BOGDANOVIĆ:

Jubilarni  15.  Međunarodni  festival  multimedijalne  umetnosti  – IMAF 2013 se ove godine održavao  na  tri  mesta  u  Srbiji,  pokrajini  Vojvodini.  Već  višegodišnja  saradnja  sa  Savezom  udruženja  likovnih  umetnika  Vojvodine  rezultirala  je  predstavljanjem dela festivalskog programa i ove godine u Novom Sadu, u galeriji SULUV prvog dana i na ulicama Novog Sada drugog dana.  Zahvaljujući  prošlogodišnjem  učešću  i  predstavljanju  galerije  MAS  i  IMAF  festivala  na  Beogradskom  sajmu  umetnosti,  čiji  je  organizator  Formverk  (art  zone)  švedska  umetnička  organizacija,  koja  deluje  sa  sedištem  u  Banatskoj  Dubici,  došlo  je  do  ponovne  saradnje  i  jednodnevnog  programa  performansa  u  Banatskoj  Dubici.  Festival  IMAF  se  već  15  godina  održava  u  Odžacima,  u  galeriji  MAS  (Studio  za multimedijalnu umetnost), te je tako i ove godine predstavljen  programom  performansa  poznatih  umetnika  iz  Španije:  Fausto  Grossi,  Francuske:  Gilivanka  Kedzior  i  Barbara  Friedman,  Švedske:  Gustaf  Broms,  Niclas  Hallberg  i  Stina  Pehrsdotter, Severne Irske/Vel.  Britanije:  Christof  Gillen,  Kine/Singapura:  Cai  Qing,  Nemačke:  Peter  Küstermann,  Slovačke/Mađarske:  József  R.  Juhász,  Srbije:  Ema  i  Radoslav  Čugalj  i  Nenad  Bogdanović. IMAF  je  umetnička  manifestacija koja je proteklih petnaest godina prepoznata od strane kulturne  javnosti  kao  važan  međunarodni  umetnički  događaj,  koji  uveliko  prevazilazi  lokalni  značaj.  IMAF  je  dugogodišnja  manifestacija  sa  bogatim  programima  i  brojnim  učesnicima  od  međunarodnog  značaja  na  savremenoj  umetničkoj  sceni.   Imali smo izuzetno  zadovoljstvo  da  ovogodišnje  jubilarno  izdanje  festivala  otvori  Peter  Küstermann,  umetnik  koji  je  ove  godine  učesnik  po  treći  put.  Peter  se  u  svom  kratkom  obraćanju  prisutnima  posebno  osvrnuo  na  istorijat  osnivanja  i  volšebnom  opstanku  ovog,  za  umetnost  performansa,  veoma  značajnog  umetničkog  festivala.   Da  bi  ovogodišnja  jubilarna  15.  godina  IMAF  festivala  bila  uspešno  realizovana  posebno  treba  zahvaliti  dugogodišnjim  prijateljima  i  volonterima  festivala.  Od  izuzetnog  značaja  je  i  višegodišnja  podrška Ministarstva  kulture  i  informisanja,  čiju  pomoć  očekujemo  i  ubuduće  u  nadi  još  uspešnije  saradnje.   Fausto Grossi U  subotu  7.  septembra,  u  prepodnevnim  časovima,  Fausto  je  krenuo  sa  performansom,    od  galerije  MAS  ka  gradskom  parku.  Krećući  se  ulicama  Odžaka  izazivao  je  izuzetnu  pažnju  lokalnog  stanovništva.  Fausto  je  izgledao  vrlo  čudno  sa  gas  maskom  na  glavi,  u  u  crnim  pantalonama,  belom  košuljom  i  plavom  kravatom  sa    belim  zvezdama,  koja  neodoljivo  podseća  na  simbole  SAD.  Šta  je  umetnik  hteo  da  kaže?  I  naziv  njegovih  performansa  “Terror  Versus  Horror”  nam  mogu  donekle  pojasniti  ideju  autora  i  zašto  baš  tako.  Imao  je  bele  rukavice  na  rukama  i  nosio  je  crnu  torbu,  hodao  energičnim  koracima  do  gradskog  parka,  gde  je  sedeo  na  klupi i pripremao materijal za nastavak  performansa  sledećeg  dana  u  galeriji  MAS.  Fausto  je  pripremio  book.art  projekat,  korice  knjižica  koje  je  u  parku  energičnim  potezima  prevlačio  po  travi,  i  tako  štampao  “knjige”  koristeći  boje  prirode. U  galeriji  MAS  sledi  nastavak  “terora”  video  projekcijom Faustovog prvog dela performansa na ulicama  Odžaka  i  parku.  Ulazi  u  galeriju  noseći  pripremljen  materijal  i  kuvalo  za  kafu,  sa  gas  maskom  na  licu  koju  nije  skidao  posle  jučerašnjeg  performansa.  U  prokuvalu  vodu  ubacuje  određene  biljke  sa  jakim  mirisom i grafitne boje. Postavlja vertikalno book-art artefakte po podu galerije  i  poput  “sveštenika”  osvećuje  knjige  “svetom”  vodom  iz  kuvala.  Na  kraju  performansa  čovek  sa  gas  maskom  podelio  je  prisutnima  book-art  knjižice  osvećene  prirodom  i  duhom  istine. Peter Küstermann Magična  flauta  je  performans  gde  autor  eksperimentiše  sa  ovim  instrumentom  na  razne  načine.  Peter  u  svojim  ranijim  radovima  koristi  razne  muzičke  instrumente,  truba,  klavir,  violina,  harmonika, i sada i ovde flauta, zavisno od ideje  koju  je  dobio  za  određeni  instrument.  Ovo  je  

lagani  i  opuštajući  komad  gde  Peter  koristi  nekoliko  vrsta  flauta  koje  kod  konzumenata  uglavnom  izazivaju  pozitivne  vibracije.  Slušajući  njegove  melodije  raznih  muzičkih  žanrova  u  prisutnima su verujem pobuđena  najiskrenija  osećanja  i  zadovoljstvo. Christoff Gillen Umetnička  instalacija  Christof  Gillen-a  u  galeriji  MAS  je  dijalog  koji  je  započet  u  oktobru/novembru 2008. godine. Christof je tada realizovao dugotrajni rad, instalaciju u prostoru, otvoreni dijalog  sa  građanima  Belfasta  i  putem  javnih  elektronskih  medija.  Instalaciju  je  postavljao  na  severozapadnom  delu  Crne  planine  iznad  Belfasta.  Gradeći  instalaciju  autor  je  koristio slova i simbole koji su kulminirali velikom frazom: Imagine A City of =. U galeriji MAS Christof  za  svoju  multimedijalnu  instalaciju  koristi  dokumentarni  video  dešavanja  na  Crnoj  planini  i  vise  stotina  sveća  od  kojih  po  podu  galerije  ispisuje  sličnu  veliku  “frazu”.  Autor  poziva  publiku na interaktivnu saradnju koja kulminira paljenjem  velikog  broja  sveća  u  zatvorenom  prostoru,  pun  neopisivih  emocija,  nesnosne  vrućine  i  neodoljive  vizuelne  atrakcije. Christof  Gillen  u  svom  performansu  “Hodanje“,  u  Banatskoj  Dubici,  ispituje  mogućnosti  psihičke  i  fizičke  izdržljivosti.  U  toj  maloj seoskoj sredini autor izaziva, u isti mah, interesovanje i nedoumicu  seoskog  stanovništva.  Christof  nosi  kofe  sa  vodom  ulicama  sela,  ne  spuštajući  ih  na  tlo,  veoma  dugo,  dugo...!  Metalne  kofe  sa  vodom  koristi  takođe  na  početku  performansa  “1968-Putovanje-2013“  u  Novom  Sadu,  kao  nastavak  projekta  iz  Dubice.  U  Novom  Sadu,  ispred  galerije  SULUV,  Christof  se  posipa  vodom  iz  kofa,  razbija  flaše  napunjene  perjem,  pali  veliku  vatru,  hoda  po  staklu,  i  sve  to  na  zgarištu  finalizuje  otvorenom  knjigom  na  čijim  stranicama smo mogli  videti  mapu  Severne  Irske  i  upaljenu  sveću  na  njoj.     Niclas Hallberg “Transformacija“  je  vrlo  kompleksan  performans  koji  postavlja  puno  pitanja  o  identitetu  i  sve  zamke koje se vrte oko autora ovog veoma zanimljivog rada. Pitanje polnosti i identifikacija sa jednim  od  njih  je  zamka  u  kojoj  se  nalazi  i  samo  ponekad,  u  posebnim  prilikama  kao  što  je  bila  ova,  Niclas  dozvoli  sebi  da  se  transformiše.  Retki  su  umetnici  kao  što  je  on,  koji  iskreno  predstavljaju svoje nedoumice i hrabro izlaze iz svoje  “kože“.  Uspevajući  da  dotakne  u  srž  stvari  koje  su  predmet  njegovog  interesovanja  bodri  i  nas  da  takođe  pokušamo  pronaći  puteve  za  odgovore  na  neka  naša  pitanja.   U  performansu  “Take  a  Cake“  u  Banatskoj  Dubici  Niclas  nastavlja  transformaciju,  u  ovom  slučaju  samo  izgleda  svog  lica.  Na  stolu  su  bile  postavljene  posude  sa  različitim  prehrambenim  materijalima  koji  se  inače  koriste  za  pravljenje  kolača.  Niclas  je  u  određenim  vremenskim  intervalima  stavljao  lice  u  brašno,  med,  šećer,  kakao  ili  jaje,  i  njegovo lice je menjalo izgled. Promenom  njegovog  identiteta  menjalo  se  i  naše  raspoloženje  koje  je  kulminiralo  lepljenjem  cedulja  sa  ispisanim  rečima  kao  što  su:  Anxiety,  Always,  Give,  Here,  Last,  Take,  Real,  i  obmotavanjem  glave  streč  folijom. U  performansu  “Stopp“,  u  galeriji  SULUV-a, slika zastavu bojama duge, a potom od dasaka i eksera  pravi,  improvizuje  postolje.  Pored  postolja  je  stolica  na  koju  seda,  skida  obuću  i  zatim  ekserima  zakucava  svoje  noge  na  sredini  postolja.  Ustaje  i  tako  “zakucan“  stoji  dugo,  dugo, nemoćno  gledajući  publiku  kao  da  očekuje  neko  rešenje.  Na  kraju  je  samo  rekao  “Nema  kraja...“. Cai Qing Prostor  ispred  galerije  MAS  i  performans  “Vriska“  Cai  Qing-a.  Odeven  u  žutu  odeću  sa  žutom  perikom  na  glavi,  nosi  plastičnog  žutog  petla  koji  na  pritisak  ispušta  vrlo  glasan  i  neprijatan  zvuk.  Ova  njegova  šetnja  i  “upoznavanje“  petla  sa  ljudima  iz  publike  postaje  vrlo  komična  predstava.  Na  kraju  performansa,  uz  tužne  krike  petla,  Cai  ga  vezuje  u  lance  i  ostavlja  da  visi  o  plafon galerije.

Poslednji performans na programu u Banatskoj Dubici "Nebeski fenjer Dubice". Cai poziva publiku  da  na  fenjerima  od  papira  naprave  neku  intervenciju,  pišu,  nacrtaju  nešto  posvećeno  festivalu IMAF 2013. Uz zadovoljstvo prisutnih fenjeri su poleteli u nebo i poneli naše  zadovoljstvo  doživljenog  i  nade  u  mogućnosti  i  snagu  alternativnog. U  novosadskom  performansu  “Crvena  zvezda“  Cai  pevuši  staru  partizansku  pesmu  “O  bela  Ćao“,  koju  je  kako  mi  je  kasnije  rekao  prvi  put  ćuo  u  jednom  jugoslovenskom  partizanskom  filmu. Pravi  i  uči  prisutne  da  prave  kape  od  kartona  u  boji,  na  koje  stavlja  crvene  petokrake  zvezde,  jednog  od  simbola  komunizma.  Tako  nas  je  autor  vratio  u  daleku  prošlost  koja  nam  se,  iz  ove  ograničene  tranzicione  perspektive,  na  trenutak,  i  sa  ukusom  gorčine,  učinila  poželjnom. Gilivanka Kedzior & Barbara Friedman Video  prezentacijom  “Double  Bind“  francuskinje  Gilivanka  i  Barbara  počinju  njihovo  predstavljanje  u  galeriji  MAS.  Nakon  video  rada  verziju  performansa  “Double  Bind  #2“  mogli  smo  pratiti  uživo  a  po  želji  i  učestvovati  u  tome.  One  su  sedele  na  stolicama  jedna  pored  druge  i  držale  u  ustima  po  jedan  kraj  crvenih  traka,  a  mi  iz  publike,  po  dvoje,  smo  ih  obmotavali  idući  oko  njih  unakrsno.  Za  to  vreme  se  čula  melodija  pesme  “Ni  za  čim  ne  žalim“  poznate  šansone Edit  Pjaf.  Bio  je  to  veoma  dirljiv  nastup  nabijen  emocijama  i  nizom  pozitivnih  osećanja.  Osećanja  koja  se  tiču  prošlosti  i  radost  nastupajuće  ljubavi  i  nade. U  Banatskoj  Dubici  umetrnički  duo,  koji  od  2010.  nastupa  zajednički  kao  “Red  Bind“,  radi  veoma  težak  i  fizički  naporan  performans.  Performans  “Staklena  menažerija“  sa  video  projekcijom  teksta  kojeg  i  čujemo  je  okvir  po  kom  dirigovano,  posle  svake  izgovorene  rečenice,  umetnice  padaju  na  kolena.  Tekstovi  uzeti  sa  različitih  strana  deluju  nepovezano  ali  u  ovom  slučaju  jedino  mogući.  Kako  se  tekst  vremenom  ubrzava  tako  se  i  one  sve  češće  nalaze  na  kolenima.  Njihovo  dizanje na noge je sve sporije a padanje postaje sve bolnije dok ubrzanje ne dostigne vrhunac. Radi  bolje  ilustracije  završio  bih  sa  nekim  od rečenica  iz  performansa:  ...“Stanite  uspravno!,  -Којi  је  vaš  posao?,  -Ja sam umetnik., -Znači  vi  neradite...,  Stanite  uspravno!..“ Iz  galerije  SULUV,  u  Novom  Sadu,  iz  mraka  izlaze  dve  maskirane  i  naoružane  osobe  u  crnom,  sa nalepljenom crvenom trakom preko  usta.  Izlaze  polako  uz  zvuke  stare  narodne  pesme  “Ne  kuni  me  ne  ruži  me  majko“  noseći  u  rukama  automatske  puške  koje  svetle.  Prizor  izaziva  pomešana  osećanja,  od  senzacije  iznenađenja  do  uljuljkujuće  sigurnosti  gledajući  ih  onako  odvažne,  “naoružane“  i  slušajući  tužnu  narodnu  ljubavnu  pesmu.  Performansom  “Red-Eye Walk“  umetnice  su  nam  omogućile  da,  uz  unutar  naizgled  banalnih  radnji  vezanih  uz  neke  aspekte  savremenog  života,  doživimo  i  poistovetimo  se  sa  određenim  urbanim  mitom  ili  legendom. Ema & Radoslav  Čugalj Opšte  poznata  činjenica  je  da  deca  uče  po  modelu.  Deca  na  prvom  mestu  uče  od  roditelja  koji  su  im  nejvažniji  autoriteti.  Radoslav  je,  u  galeriji  MAS  u  Odžacima  i  galeriji  SULUV  u  Novom  Sadu,  zajedno  sa  svojom  kćerkom  Emom  realizovao  performanse  pod  nazivom  “Roditeljstvo“.  Dete  još  u  najranijem  uzrastu  počinje  da  uči  od  svojih  roditelja,  roditelj  je  uzor  detetu  i  to  je  najvažnije  što  su  njihovim  performansom  hteli  da  nam  kažu.  Roditelj  može  i  da  nema  nameru  da  svoje  dete  nauči  nekom  ponašanju,  dete  će  to  roditeljsko  ponašanje  da  “snimi“  i  kasnije  u  životu  da  praktikuje.  Sedeći  u  performansu  jedno  naspram  drugog  Radoslav  je  govorom  ruku  “podučavao“  Emu,  koje  je  njegova  kćer  veoma  vešto  ponavljala.  U  jednom  momentu  Radoslav  ustaje sa stolice i odlazi  dok  Ema  nastavlja  da  vežba  naučeno.  Ovaj  performans  edukativnog  karaktera  može  biti  od  koristi  roditeljima  koji  bi  trebali  pokazati  deci  primerom  i  pomognu  im  da  izaberu,  da  bi  jednog  dana  postali  uspešne  i  zadovoljne  odrasle  osobe. Gustaf Broms Gustaf se  na  festivalu  predstavio  ciklusom  od  tri  performansa  pod  nazivom  “Merge“.  Autor  u  svakom  od  njegovih  radova  primarno  koristi  prirodne  elemente  kao  što  su  zemlja,  drvo,  vatra.  

Posmatrali  to  iz  perspektive  zapada  ili  istoka,  i  ponekad  njihovih    različitih definicija, sigurno je da  prirodni  elementi  utiču  na  ponavljajuće  prirodne  cikluse  koji  regulišu  život  na  zemlji,  rast  i  umiranje,  osećanja  i  psihologiju  čoveka. U  odžačkom  “Merge  #14“  Gustaf  je  na  travnjaku,  ispred  galerije  MAS,  vezan  konopcem  za  jednu nogu.  Makazama  seče  svoju  kosu  i  pali  je.  Kopa  rupu  u  zemlji  i  nabija  glavu  u  nju.  Koliko  mu  to  konopac  dozvoljava  kreće  se  kružno,  udara  kamen  o  kamen,  boji  svoje  lice  i  noge  u  naranđastoj  boji  zemlje.  Stavlja  u  usta  svežu  granu  drveta  i  identifikuje  se  sa ovim elementom iz prirode. “Merge  #15“  je  performans  kojeg  je  Gustaf  izveo  u  Banatskoj  Dubici.  Autor  nastavlja  svoju  priču  o  prirodi  i  njenim  zakonima,  kritikujući  tako  trivijalne  dnevno  političke  događaje  u  svetu. Mrak je, pod  jakom  svetlošću  reflektora  počinje  performans  listajući  i  čitajući  dnevne  novine,  sa  vezanom  korpom  za  pse  na  njegovom  licu.  Čita  naslove  vesti  i  informacije  iz  raznih  rubrika  koje  se  kao  veoma  važni  momenti  pojavljuju  svakodnevno.  Dolazi  do  zadnje stranice novina a ispod nje nalazi  travu  iste  veličine,  uzima  je  i  postavlja  na  svoje  telo,  grudi.  Hodajući  unatrag,  u  mrak  stapajući  se  sa  okolnim  žbunjem  i  drvećem. U  performansu  “Merge  #16“  na  ulici  u  Novom  Sadu  Gustaf  je  takođe  bio  vezan  konopcem. Koračao  je  energično  u  krug  a  iz  njegove  odeće  je  ostajao  trag  pigmenta  u    boji  zemlje  i  na  taj  način  crtao  krug.  Hodajući  i  dalje  kružno  čitao  je  novine  raširivši  ih  rukama.  Zatvara  novine  i  sklapa  ih  lupajući  se  njima  po  glavi.  Kasnije  pali  novine  i  sa  bojom  od  gareži  prekriva  svoje  lice.  Veže  deo  lobanje  neke  životinje  na  svoje  lice,  idući  u  krug  ispruženih  ruku  nudi  prisutnima  zemlju.  Ljudi  uglavnom  ne  vide  sebe  kao  deo  prirode  i  to  neće  funkcionisati  u  nedogled,  čini  se  da  je  umetnik  to  želeo  da  nam kaže.  Ljudi  moraju  težiti  balansu  sa  prirodom  kako  bi  postigli  evolucioni pomak i promene. Stina Pehrsdotter U  performansu  “Cveće  radosti“  (Glädjens  blomster  (Flower  of  joy)  Stina  se  skida  gola  i  poziva  publiku  da  učestvuju  u  njenom  radu.  Predložila  je  da  šlagom  u  spreju  crtaju  cvetove  po  njenom  telu.  Pored  šlaga  tu  je  i  jedna  teglica  đema,  ili  nešto  slično,  da  kašićicom  stave  na  sredinu  cveta.  Ideja  za  ovaj  njen  rad  dolazi  od  švedske  narodne  pesme  pod  originalnim  nazivom  “Glädjens  blomster”,  koja  govori  o  ljubavi.  Mi  živimo  u  vremenu  gde  smo  zatrpani  skarednim  prikazima  nagosti  ljudskih  tela,  od  štampanih  do  elektronskih  medija.  Stina  je  u  svom  performansu  predložila  jedno  umetničko  viđenje  i      povezivanje  nagosti  kao  čednost  i  čistotu  u  službi  iskrenosti i  ljubavi.  Ona  to  veoma  uspešno  uspeva  da  nam  približi  kroz  poetizovano  shvatanje  umetnosti performansa. U  novosadskom  ”Twisted  on  the  back”  umetnica  donosi  na  travnjak  ispred  galerije  SULUV-a veliku kutiju. Iz nje vadi krparu koju prostire na travu. U kutiji  je  bilo  još  puno  raznih  stvari:  knjige,  odevni  predmeti,  čekić,  staklo,  srce  napravljeno  od  bodljikave  žice...itd.  Stina  deli  ove  stvari  ljudima  u  publici  i  moli  ih  da  ih  vrate  kasnije  i  postave  ih    na  njena  leđa.  Ona  leže  potrbuške  na  postavljenu  krparu  a  iz  publike  stižu  stvari  na  njena  leđa.  Puno  je  stvari  poređano  na  njenim  leđima,  jedna  preko  druge.  Kao  da  joj  se  sav  dugogodišnji  životni  teret  odjednom  sručio  na  pleća.  Ili  želi  da  ponovo  oseti  sve…  da  se  sruči  sve  to  ponovo,  odjednom…  sa  nagomilanom  snagom,  stečenom  tokom  dugih  godina,  i  da  sve  to  oseti  zajedno  sa  još  većim  zadovoljstvom. József R. Juhász József  je  umetnik  koji  često  iznenađuje  svojim  veoma  interesantnim  sadržajima  i  duhovitim  idejama,  radeći  performanse  na  mnogim  festivalima  širom sveta. Za ovu priliku on je na ulici, na Bulevaru Mihajla Pupina, nabio glavu u posudu punu peska. Iz posude se samo moglo videti njegovo  povijeno  telo  u  crnom  svečanom  odelu.  I  kao  što  stoji  u  nazivu  njegovog  performansa  “Bury  your  head  in  the  sand“  József  nas  poziva  da,  ako  već  nismo,  i  mi  stavimo  glave  u  pesak.  Veoma  angažovan  performans,  sa  korišćenjem  legende  o  noju  koji  na  znak  opasnosti  nabija  

glavu  u  pesak,  kao  kritički  osvrt  na  opštu  društvenu  krizu,  krize  vrednosnog  sistema  i  demokratije. FAUSTO GROSSI: Želja  da  ponovo  vidim  Nenada  je  za  mene  bila  dovoljan  razlog  da  prihvatim  poziv  na  učešće  u  15-om izdanju IMAF-a.  Uz  to,  bila  je  tu  i  želja  da  doprinesem  i  upoznam  druge  učesnike  u  sastanku i njihove predloge. Dolazak  u  Odžake  mi  je  pokazao  grad  pravougaone  strukture  i  niskih  kuća.  Sve  su  mi  ulice  izgledale  isto.  Ljudi  su  srdačni.  U  MAS  Galeriji  je bio dobar ambijent. Nenad je pokazao dobrodošlicu,  skuvao  nam  kafu  i  razgovarali  smo.  Tad  je  stigao  Gustav.  On  je  Šveđanin,  a  sreli  smo se kao i sa  Nenadom  na  prvom  izdanju  Infrakcije  u  Veneciji  2011.  Veoma  sam  sretan  što  ga ponovo vidim. Kako shvatam, za Gustava  je  odnos  između  ljudi  i  prirode  svesnost  prirode  i  samim  tim  je  to  i  priroda  svesnosti.  Njegovo  je  biološko  telo  kroz  koje  vitalna  iskustva nadilaze fizička    iskustva  čula  da  bi  postala  svesnost  i  katarza  sama  za  sebe. Nenad  nas  odvodi  do  smeštaja.  Delim  sobu  broj  3  sa  Kristofom  i  Šonom,  dvojicom  izuzetnih  irskih  umetnika.  Kristof,  putem  katarzičkog  iskustva,  uključuje  posmatrača  na  etičkom  nivou. Njegove akcije govore nam i pozivaju nas da razmislimo o situaciji u Severnoj Irskoj. On veruje da  umetnost  performansa  dozvoljava  slobodu  eksperimentisanja,  a  Šon  deli  i  podržava  to  osećanje. U  sobi  broj  1  je  švedski  par:  Niklas  i  Stina.  Oni  sad  žive u Dubici, Srbija. Multimedijalni su umetnici,  a  kao  kustosi  su  među  osnivačima  Formwerk  (art  zone),  asocijacije  bazirane  na  projektima kojom upravljaju umetnici. Kao umetnik, Niklas zasniva svoj doprinos na intimi i individualnosti  gde  je  publika  uključena i stimulisana pokretnim slikama. Naposletku, njegova istraga dolazi do pitanja koja  se  tiču  identiteta,  muškosti  i  ljudskosti,  kako  on  sam  kaže.  Stinin  doprinos je inspirisan ljudskim telom i njegovim vitalnim nagonima. Ona govori o telu koje je fizičko i mentalno. To je kontekstualno telo i, zbog toga, osetljivo telo. Po  viđenju  soba  otišli  smo  na  večeru.  Oko  stola  sa  dobrom  hranom  i  pićem  uvek  je  i  dobra  prilika  za  upoznavanje,  podelu  ideja  i  iskustava.  Sedim  pored  Cai  Ćinga.  On  je  Kinez,  učitelj  i  objavio  je  disertaciju  “Performans  art  i  duhovna  terapija”.  Odmah  postajemo  prijatelji.  Za  stolom  su  takođe  i  francuske  umetnice  Gilivanka  Kedzior  i  Barbara  Fridman.  Njih  dve  čine  grupu  “Crvena  veza”.  One  analiziraju  konvencije  u  društvenim  odnosima  unutar  i van konteksta, iz ugla  posmatranja  žena. U  subotu  sedmog  septembra,  radim  svoju  akciju.  Ujutro  šetam  od  MAS  galerije  do  gradskog  parka.  Nosim  crne  pantalone,  belu  košulju  i  plavu  kravatu  sa  belim  zvezdicama.  Imam  bele rukavice i nosim crnu torbu. Lice mi pokriva  zaštitna  maska  (gas-maska). Popodne, akcija se nastavlja  u  MAS  galeriji,  gde  pripremam  i  potpisujem  upijajući  papir  koji  ću  podeliti  prisutnima.  Akcija  je  veoma  moćno  iskustvo  za  mene  i  pitam  se  da  li  kao  umetnici  smemo  biti  tako  nasilni,  ali u isto  vreme  mislim  da  je  važno  sačuvati  sećanje  čak  iako  se  time  povređujemo. Nemački  umetnik  Peter  Kisterman  dolazi  sa  vozačem,  par  minuta  pre  svog  performansa.  On  je  umetnik  mreže  od  1983.  i sebe  definiše  kao  mejl-artistu,  autora,  slikara,  filmadžiju,  kritičara, galeristu  i  menadžera  alternativne  kulture  u  romantičnoj  staroj  crkvi:  BUZ  Kulturni  centar  u  Mindenu,  Nemačka.  U  MAS  galeriji  prezentuje  svoje  publikacije  i  svira  svoju  čarobnu  frulu. Na  festivalu  sam  imao  zadovoljstvo  da  upoznam  i  Čugalj  Radoslava.  On je iz Srbije i izvodi performans  sa  svojom  ćerkom  Emom.  Radoslav  sebe  smatra  konceptualnim  umetnikom. Cai  Ćingov  performans  sa  plastičnim  piletom  je  veoma  privlačan  i  podseća  me,  ne  znam  zašto,  na manga stripove. To sam mu pomenuo i on mi je rekao da likovi  mange  imaju  oči  kao  to  pile.  Zanimljivo,  nikad  o  tome  nisam  razmišljao.

Da  zatvori,  Nenad  nam  predstavlja  surovu  realnost.  Veoma  emocionalnu  akciju  gde  predlaže  mostove  izgrađene  u  miru,  a  uništene  u  ratu,  projektovane  na  zidu.  Uskače  u  sliku  svojim  slikanjem.  To  je  tišina. U  svemu  tome,  naposletku,  verujem  da  je  performans  čin  poštenja  i  darežljivosti.  Performans  je  da  sebe  predaš  bezrezervno,  da  se  ogoliš,  ne  obavezno  i  fizički,  da  se  ogoliš  iznutra,  gde  je  telo  interfejs.  Kao  što  sam  ranije  i  govorio, performans odgovara na impuls ka pojavi trenutaka u našem  životu  koji  pokrivaju  nerešene  potrebe,  nedostignuto.  Veliki  deo  vremena  vidimo  samo  emociju  ovih  iskustava.  Možda  ne,  ali  ja  sam  ubeđen  da  nam  svaki  performans  govori  o  umetniku, njegovoj percepciji i interpretaciji sveta. GILIVANKA KEDZIOR: Nenad  Bogdanović:  MOSTOVI II 8. septembar 2013. Galerija  MAS,  Odžaci,  Srbija Melodija  Betovenovog  komada  Za  Elizu  se  veselo  širi  prostorom  galerije:  dolazi  kao  ilustracija  serije slika projektovanih na belom zidu. Mostovi, razni, svih veličina,  ponosno  premošćuju  Dunav i njegove  predivne  tekuće  vode,  rašireni  preko  pune  veličine  zida.  Veliki,  jaki,  debeli,  spajaju  beskrajne  vrške  ravne  zemlje, pokrivene poljima dokle vam pogled  seže,  par  slabo  naseljenih  urbanih  zona,  dva  blizanačka  brega,  bez  ičeg  naročito  posebnog.  Uski,  delikatni,  vazdušasti,  prekrivaju  usta  reke  široke  kao  morski zalivi i izgledaju  kao  delo  nekih  čudnih  paukova.  Iznenada,  umirujuća  pastorala  slika  koje  se  smenjuju  isparava  pod  nabojem Betovenove  Simfonije  br.  5.  Moćni  ritam  muzike  odnosi  sa  sobom svaku prividnu smirenost i naglašava  užas  koji  se  sad  širi  ekranom:  kruže  nove  slike mostova, ali od njihove snage i lepote nema  ničeg  preostalog.  Sve  je  samo  otpad,  krš,  ruševine,  leže  usamljeno  u  pejzažu.  Ponovo,  muzika  se  menja:  to  je  valcer,  Na  lepom  plavom  Dunavu,  Johana  Štrausa  mlađeg.  Nepomičan  u  uglu  galerije  još  od  početka  projekcije,  Nenad  Bogdanović  hvata  dve  od  četki  ostavljenih  u  činijama  punim  primarnih  boja  na  podu.  Silinom  prateći  ritam  koraka  ovog  valcera,  Nenad  se  unosi  u  crtanje  dugih  transverzalnih  linija  obema  rukama,  gde  se  sad  ekranom  prostiru  vrškovi zemlje, polja i brda  koja  ćovek  nije  ranije  povezao  svojom  veštačkom  rukom.  Od  vrha  do  dna,  on  žestoko  štampa  debele  linije  koje  se  šire  u  kapljicama,  ostavlja  četkice,  hvata  dve  različite,  ponovo  crta  dve  linije  s  desna  na  levo,  još  dva  kanala  koji  potpuno  guše  korak,  a  dok  se  on  iscrpljuje ovim neprekidnim valcerom, linije se preklapaju, jedna drugu pokrivaju brzim ritmom muzike,  boje  se  spajaju  preko  pejzaža,  a  iznenada  izgleda  kao  da  hiljadu  mostova  pokrivenih  hiljadama vatrenih zastava izbijaju iz bojama pokrivenog betona. Stina Pehrsdotter: Red Laughing Blues 9. septembar 2013. Formverk  (umetnička  zona),  Banatska  Dubica, Srbija Mislim  da  sam  još  bila  izgubljena  u  slatkom  maštanju,  lica  okrenutog  nebu,  stojeći  u  tom  divljem  vrtu u sred malog srpskog  sela,  kad  je  pun,  zvučan  i bogat smeh iznenada ispunio vazduh kako kad  bi  vas  neko  uzeo  u  naručje:  telo  potpuno  pokriveno  crvenim  satenskim  čaršavom upravo je prošlo  kroz  vrata  i krenulo  niz  ulicu.  Razvijajući  bogate  drhtaje  svog  smeha  na  svakom  koraku,  spori crveni oblik nas je odvodio u svoje prisustvo: niko od nas nije mogao odoleti zovu ove opojne  čari  dok  je  odjekivala  u dubinama  nas  samih.  Svi  smo  želeli  da  pratimo  ovu  prikazu,  da  nas odnese poplava njenog smeha i da  otkrijemo  ono  što  drugi  ne  vide.  Prešla  je  ulicu  smejući  

se  glasno,  okrenula  prema  parku,  još  uvek  nasmejana,  a  mi  smo  je  tiho  sledili,  hodajući  iza  nje  na maloj udaljenosti. Crven,  živ  i bučan  oblik,  klizeći  kroz  visoku  travu,  prateći  ovu  malu  kongregaciju jedno popodne u septembru, smrzla  je  osmeh  na  našim  licima  i naterala nam suze na  oči  jer  smo  tada  znali  da  joj  ne  možemo  pobeći.  Njen  smeh je izlivao na nas najdublje i suprotne  emocije  kao  nevidljivi  krik  umrljan  samo  bojom  njenog  vela.  Još  nosim  utisak  ove  uznemirujuće  pojave. CAI QING: 1.  Na  putu  iz  Odžaka  u  Dubicu 9. septembar 2013. 9 ujutro Svi  učesnici  i naš  prtljag  su  spakovani  u  minivan u vlasništvu  švedskog  para,  Niklasa  i Stine. Niklas  nas  vozi  u  Dubicu.  Organizator  Nenad  mora  da  je  pažljivo  izračunao  broj  učesnika  koje  poziva jer je kombi napunjen do vrha i nema  mesta  za  još  jednog  umetnika. Sedeo sam pored Nenada, gde je vetar duvao kroz prozor.  Mislio  sam  da  imam  sreće  što  sam  poneo  šal,  poklon  vlasnika  kineske  prodavnice  u  Odžacima.  Nenad  je  tiha  osoba.  Saznao  sam  da  je  samouk  umetnik.  Radio  je  fizičke  poslove  da  bi  kasnije  postao  mejl  artista.  Takođe  je  i  poznati  kustos  i izdavač.  Počeo  je  da  organizuje  godišnji  festival  IMAF  od  1998.,  sa  jedinim  prekidom  sledeće  godine zbog rata u Srbiji. Ove godine s ponosom predstavlja 15-ti  IMAF.  OStaje  u  Odžacima  i ne  želi  da  se  seli  u  veće  gradove  kao  ostali.  Uživa  u  mogućnosti  interakcije  sa umetnicima celog sveta kroz IMAF u svom rodnom mestu. Bio je stidljiv kao momak i performans ga je oslobodio osećaja  nesigurnosti.  Ima  26-godišnjeg  sina  koji  je  učestvovao  na  ovom  festivalu,  ali  ove  godine  nije  mogao  doći  zbog  dodatnih  poslova  u drugom gradu. Rekao sam mu da i ja  uvodim  članove  porodice  u  moj  rad.  Njegova  devojka  je  takođe  zainteresovana za performans umetnost i pratila ga  je  na  većini  događaja.  Bila  je  uključena  u  interaktivni  performans  u  Odžacima,  tokom  performansa dve francuske umetnice,  što  ga  je  inspirisalo  da  ohrabri  svoju  devojku  da  postane  performans  umetnik.  Posle  dvosatnog  putovanja  konačno  stižemo  u  Dubicu  preko  retko  naseljenih  pašnjaka.  U  šumi  smo  pronašli  Niklasov  i Stinin dom. Kupili su kolibu za 10.000 evra pre oko godinu dana i tu  nameravaju  da  ostanu  do  kraja  života.  Ovo  je  udobna  kućica,  povezali  su  dve  zgrade  drvenom  konstrukcijom  ispod  koje  su  većina  njihovih  aktivnosti.  Iz  dvorišta  se  može  videti  crkva  u  obližnjem  selu. 2.  Probrane  aktivnosti  posle  večere  u  Dubici:   Niklas  je  prvi  započeo  svoj  rad.  Sedeo  je  pred  stolom  ispod  reflektora.  Na  stolu  su  bila  4  različita  materijala:  brašno,  med  mešan  sa  kakao  prahom,  beli  šećer  i  mlevena  kafa.  Prvo  je  uneo  lice  u  brašno  pa  je  postalo  belo.  Zatim  je  to  isto  uradio  sa  medom  i kakaom,  brašno  se  pomešalo  sa  tamnim  medom  i  kakaom,  pa  je  prešao  na  sledeći  materijal.  Postepeno  je  njegovo  lice  pokriveno  različitim  materijalima  pokazalo  razne  izraze  lica  i  pomalo  odrazilo  tugu.  Rad  podseća  na  zapadnjačku  verziju  kineske  “Promene  lica”. Gustaf  je  došao  do  Niklasovog  naizgled  beskrajnog  rada.  Uključio  je  sjajno  svetlo  i  postavio  ga  na  travnati  pod.  Počeo  je  glasno  da  čita  novine.  Konačno,  hodao  je  unazad  sa  travom  u  ruci  sve  dok  nije  nestao  u  šumi,  dok  je  Nenad  u  pravom  trenutku  ugasio  svetlo. Gustaf je potpuno nestao. Nenad  je  nastavio  da  koristi  malu  baterijsku  lampu  u  pokušaju  da  nađe  detelinu  sa 4 lista (koja je  znak  buduće  sreće)  na  zemlji  tokom  veoma  dugog  perioda,  a  onda  se  pojavio  iz  mraka  sa  belim  platnom  i  iskoristio  sakupljene  trolisne  deteline  da  bi  napravio  četvorolisnu  na  platnu.  Rekao  je  “Veoma  sam  srećan”.

Ova  tri  umetnika  imaju  odlično  međusobno  razumevanje  i  radovi  su  im  bili  dobro  povezani,  glatki  i  živi.  Samo  mali  zastoj  su  uzrokovali  dvojica  irskih  umetnika  iz  publike  koji  su  se  toliko  uneli  u  hvatanje  dobrih  fotografija  da  bi  ponekad  prišli  preblizu  umetniku.  Podizali  su  kamere  dugih  sočiva  dok  su  stajali  ili  ležali  u  potrazi  za  najboljim  snimkom.  Bili  su  veoma  uzbuđeni,  uz  mnogo  kretanja,  što  je  ozbiljno  remetilo  savršeno  izvođenje  performansa.  Nadamo  se  da  će  u  budućnosti  zadržati  odstojanje  u  odnosu  na  tekući  rad  osim  ako  su  pozvani  da  učestvuju. *Izvučeno  iz  mog  bloga  “Looking  for  Marie  Abramovic”  (http://blog.artintern.net/article/375393) Texts on English: NENAD BOGDANOVIC: 15th International Multimedia Art Festival - IMAF 2013 was held on three locations in Serbian province of Vojvodina. Many years of cooperation with SULUV has resulted in presentation of the part of the festival program in Novi Sad, at the SULUV gallery on the first day, and on the streets of Novi Sad on the second day. Thanks to our last years participation and presentation of MAS gallery and IMAF festival on Belgrade art fair, organized by Formwerk (art zone) Swedish art organization working from Banatska Dubica., we have had a repeated cooperation and one day of program at Banatska Dubica. IMAF has been held for 15 years in Odzaci, at MAS Gallery, and we have also had a presentation of performances by well known artist here, from Spain Fausto Grossi, from France Gilivanka Kedzior and Barbara Friedman, Sweden Gustaf Broms, Niclas Hallberg and Stina Pehrsdotter, Northern Ireland/Great Britain Christof Gillen, China/Singapore Cai Qing, Germany Peter  Küstermann,  Slovakia/Hungary  József  R.  Juhász,  Serbia:  Ema  and  Radoslav  Čugalj  and  Nenad Bogdanović. IMAF is a cultural manifestation that has been recognized during the past 15 years by cultural public as an important international art event, surpassing greatly any local meaning. It has many years of rich program and numerous participants of international influence on contemporary art scene. We have had an extreme pleasure that this jubilant edition of the Festival was opened by Peter Küstermann, with his third participation on IMAF. Peter made a short speech reflecting the history of founding and miraculous survival of this, for performance art, very important festival. For the successful realization of this years Festival we owe special thanks to long time supporters and friends of the Festival. Extreme importance poses the support of the Ministry of culture and information of Republic Serbia, whose assistance we expect in the future, hoping for even better cooperation. Fausto Grossi Fausto started his performance on Saturday, September 7th, during afternoon from MAS Gallery to the town park. His movement along the streets of Odzaci has provoked attention of local population. Fausto made a very strange appearance with facemask on his head, wearing black pants, white shirt and blue tie with yellow stars, irresistibly associating him with USA symbols.  What  was  his  story?  Title  of  his  performance  “Teror  versus  horor”  can  simplify  the  idea  to us. He had white gloves and black bag, walked energetically to the park where he sat on the bench and prepared materials for the rest of the performance on the following day at MAS

Gallery. Fausto prepared book art project, bind for the books that he energetically moved along the grass, thus printing his books with the colors of the nature. At  MAS  Gallery  “teror”  continues  with  the  projection  of  Fausto’s first part of the performance. He entered the gallery carrying the materials and coffee boiler, wearing the facemask form the yesterdays performance. In the boiling water he threw certain herbs and graffiti colors, set his book art artifacts up on the floor and  “sanctified”  them  like  a  priest  would  with  this  water  from  the  boiler. At the end, a man with a facemask shared book art booklets sanctified with nature and the spirit of thruth.to the audience. Peter Küstermann Magic flute is a performance in which the author experiments with this instrument on various ways. Peter has been using different instruments in his earlier performances, trumpet, piano, violin, accordion and, now an here, the flute, depending on the idea. This was a light and relaxed piece where Peter uses several kinds of flutes that mainly cause positive vibrations to the consumers. Listening to his melodies of different types of music, invoked most sincere emotions and pleasures. Christoff Gillen Art installation made by Christof Gillen at the MAS Gallery is a dialog started during October/November 2008. Christoff then realized a duration work, installation in space, open dialog with the citizens of Belfast via public electronic media. Installation was placed on the northwest side of Black Mountain over Belfast. During the construction, author used letters and symbols which culminated with the grand fraise IMAGINE A CITY OF =. At MAS Gallery Christoff uses documentary video of those events in his installation along with several hundred candles that spell a similar fraise. Author invited the audience to interactive cooperation that culminates in many lit candles within the enclosed space of the Gallery, full of emotions, unbearable heat and irresistible visual attraction. Christof Gillen  in  his  performance  “Walking”  at  Banatska  Dubica,  questions  the  limits  of  physical  and mental endurance. In this small community he provokes, at the same time, interest and doubt of the local population. Christoff carries buckets of water through the streets, without setting them down for a long, long period. Metal buckets are also used at the beginning of his performance  “1968  – voyage – 2013”  in  Novi  Sad,  as  an  extension  of  the  Dubica  project.  In  Novi  Sad, outside SULUV Gallery, Christoff pours water from the buckets on himself, breaks bottles filled with feathers, lights a great bonfire, walks on glass and all that is finalized on the fireplace by an open book with a map of Northern Ireland and a lit candle in it. Niclas Hallberg „Transformation“  is  a very complex performance that asks many questions about identity and sets up many traps revolving around the author of this very interesting piece. Question of sexuality and identification with one of the genders is a trap in which he is and just occasionally, in special circumstances like now, Niclas allows himself to transform. Artist like him, that present their doubts honestly and bravely exits their skins are rare. Succeeding to touch the essence of the objects of his interest he encourages us to try and find the ways for our own questions. In  a  „Take  a  cake“  performance  at  Banatska  Dubica  Niclas  continues  transformation,  at  his  point, only of his face. At the table there were dishes with different food materials normally used for baking cakes. Niclas placed his face within set intervals in flour, honey, sugar, cocoa or egg, thus changing the appearance of his face. With the change of his identity our mood was also changed until it culminated with sticking the notes with words like: Anxiety, Always, Give, Here, Last, Take, Real, and wrapping the head in stretch foil. In  a  performance  „Stopp“  at  SULUV  Gallery,  he  painted  a  flag  in  rainbow  colors  and  then  makes  a stand with boards and nails. Next to the stand is a chair where he sits, takes off his shoes and

nails  his  feet  to  the  stand.  Stands  up  and  so  „nailed“,  he  stands  for  a  long  period  helplessly  watching  the  audience  as  if  expecting  a  solution.  At  the  end  he  just  says  „There  is  no  end...“ Cai Qing Space in front  of  the  MAS  Gallery  and  performance  „Screaming“  by  Cai  Qing.  Dressed  in  yellow  clothes with yellow wig on his head he releases very loud and unpleasant scream. This walk and  „introduction“  of  a  cockerel  with  people  from  the  audience  becomes  a  very  comical display. At the end of the performance, with sad cries of the cockerel, Cai binds it in chains and leaves it hanging on a gallery ceiling. Last  performance  in  Banatska  Dubica  „Sky  lantern  of  Dubica“.  Cai  invites  the  audience  to  use  paper lanterns and make an intervention on them, to write or draw something dedicated to IMAF 2013. With the pleasure of all present, lanterns flew to the sky carrying our pleasure of the experience and hopes in power and options of the alternative. In his Novi Sad performance  „Red  star“  Cai  sing  an  old  partisan  song  „O  Bella  ciao“,  that  he  heard (as I later found out) in an old Yugoslavian movie. He makes and teaches all present how to make partisan caps of colored cardboard, placing red stars on them as a symbol of communism. With this the author returns us in distant past that, from this limited transitional perspective, for a moment and with bitter aftertaste, seems desirable. Gilivanka Kedzior & Barbara Friedman French  artists  used  video  presentation  „Double  bind“  to  open their work at MAS Gallery. After the  video  they  performed  one  version  of  it  „Double  bind  2“  inviting  the  audience  to  participate.  They sat on chairs side by side, each holding one end of the red tape in their mouth, while we could use the remainder of the tape in pairs to wrap them around in it. During the performance we  could  listen  to  Edit  Piaff's  „I  don't  regret  anything“  song.  A  very  touching  performance  filled  with emotions and positive feelings. Feelings regarding past and joy of oncoming love and hope. In  Banatska  Dubica  this  pair,  performing  together  as  „Red  Bind“  since  2010,  made  a  very  challenging  and  difficult  performance  titled  „Glass  menagerie“.  We  saw  a  video  projection  of  the  text that we can hear and on which the artists, after each sentence, fall to their knees. Texts seems unrelated but in this case are the only possible ones. As the video speeds up, they are on their knees more often. Getting up is slower and falling increasingly more painful until the acceleration reaches apex. For the better illustration, here are some sentences from the performance:  “Stand  up!”...  “What  is  your  job?”...  “I’m  an  artist”...  “So,  unemployed!”...  “Stand  up!”... Out of SULUV Gallery in Novi Sad, emerge two masked and armed individuals dressed in black with red tape over their mouth. They emerge slowly followed by an old folk song carrying automatic rifles that glow. Site causes mixed emotions, from surprise to safety, as we see them so bold, armed and listening to an old song of love. With their performance  “Red-Eye  Walk“  they  gave us a chance to, within seemingly banal aspects of modern life, experience and feel a certain urban legend or a myth. Ema  &  Radoslav  Čugalj Well known fact is that children learn by model. First and foremost they learn from parents who are their most important authorities. Radoslav has, at MAS gallery in Odzaci and SULUV gallery in  Novi  Sad,  together  with  his  daughter  realized  performance  „Parenting“.  A  child  at  his  earliest  starts to learn from parents, a parent is a role model and that is the most important fact they tried to convey with this performance. A  parent  may  even  not  wish  to  teach  a  child  certain  behavior,  but  a  child  will  „record“  that  behavior and practice later in life . Siting opposite each other in their performance Radoslav used  hand  mimic  to  „teach“  Ema,  and  she  skillfully  repeated  it.  At  one  point,  Radoslav  stands  up  

and leaves while Ema continues to practice the learned technique. This educational performance may be of use to parents in their showing by example and helping children choose in order to become successful and satisfied adults. Gustaf Broms Gustaf  presented  himself  on  IMAF  with  a  cycle  of  3  performances  titled  “Merge”.  In  each  of  these performances he primarily uses natural elements like earth, wood, fire. Whether we see it from Eastern or Western perspective, and their sometimes different definitions, it is certain that natural elements influence repeating natural cycles that regulate life on earth, growth and dying, emotions and psychology of man. In  Odzaci  “Merge#14”  Gustaf  tied  himself  on  the  lawn  in  front  of  MAS  Gallery  with  a  rope.  He  cuts his hair with scissors and burns it, Digs a hole in the ground and puts his head in it. As much as the rope allows, he moves in circles, hits a rock on another rock, paints his face and legs in dirt orange. Puts a fresh branch in his mouth and identifies himself with this natural element. “Merge  #15“  is  a performance Gustaf made in Banatska Dubica. Author continues his tale of nature and it's laws, making critics of trivial day-by-day political events of the world. It is dark, under the lights of the reflectors, he starts the performance by reading newspaper, with a dog basket tied around his mouth. He reads news headlines and information from different columns. When he gets to the last page he finds grass under it in the same size, takes it and places on his chest and body. Walking backwards, into the dark, he merges with surrounding bushes and trees. In  “Merge  #16“  performance  on  the  street  in  Novi  Sad Gustaff was also tied with a rope. He walked energetically in a circle, and his clothes left trails of dirt colored pigment, thus drawing the circle. While still walking, he opened the newspaper wide. Then he closed the paper and hit himself on the head. Later on he light the paper on fire and paints his face with the char. He tied an animal skull on his face, walked with his arms forward, offering earth to the audience. People mostly don't see themselves as part of the nature, but this can not function indefinitely, seem that the artist wishes to say. People must strive to achieve balance with nature to achieve evolutionary shift and advancement. Stina Pehrsdotter In  her  performance  “Flower  of  joy”  Stina  took  her  clothes  off  and  invited  the  audience  to participate in her work. She suggested them to use spray cream to draw flowers on her body. Besides the cream there is a jar of jam also, to be placed on top of cream. The idea comes from Swedish  folk  song  originally  titled  “Glädjens  blomster”,  that  speaks of love. We live in times of piles of obscene displays of human bodies, in printed and electronic media alike. Stina in her performance suggested an artistic vision and connection of nudity as purity and modesty in service of honesty and love. Her poetic understanding of performance makes her able to convey this emotion onto us. In  Novi  Sad  she  made  ”Twisted  on  the  back”  performance  where  she  bring  a  large  box  on  the  grass in front of SULUV Gallery. Takes out a large rag from it and spreads it on the grass. There were many different thing in the box also: books, clothing, hammer, glass, barb wire heart, etc. Stina distributes these items to the audience and asks them to return the objects later on her back. She lays belly down on the rag, and items arrive on her back from the audience. There are a lot of things piled up on her. As if the entire life’s weight suddenly came on her back in a single moment. Or as if she wishes to feel everything... let it come down again... with gathered strength over the course of years, to feel everything again with even more pleasure. József R. Juhász József is and artist that often surprises with his interesting and humorous ideas, performing at

many festivals worldwide. For this occasion he stuck his head in a bucket of sand in the middle of the street, Mihajlo Pupin boulevard. One could only see his bent body in formal black suite. As  his  performance  title  says  “Bury  your  head  in  the  sand“  József  invites  us  to,  if  we  have  not  yet, put our heads in the sand. Highly engaged performance, using the legend of an ostrich that puts his head in sand on a sign of danger, as a critical review to general crisis in society, crisis of value system and democracy. FAUSTO GROSSI: The desire to see Nenad again was reason enough for me to accept his invitation to participate in the 15th edition of the IMAF (International Multimedia Art Fdertival). Added to this was the will to contribute to and know the other participants in the meeting and their proposals. The arrival in Odzaci revealed to me a town of orthogonal structure and low houses. All roads seemed to me the same. The people are hearty. In MAS Gallery was good ambient. Nenad are very welcoming, he prepares a coffee and we talk. Here comes Gustaf. He is Swedish and we met, as well as with Nenad, in the first edition of Infraction Venice in 2011. I am very happy to see him again. I understand that for Gustaf the relationship between human beings and nature is the consciousness of nature and at the same time this is the nature of consciousness. His is a biological body through which its vital experience transcends the physicality of the senses to become consciousness and catarsis itself. Nenad takes us where we sleep. I will share the room umber 3 with Christoff and Sean, two outstanding Irish artists. Christof, through a cathartic experience, involves the viewer on an ethical level. His actions speak to us and invite us to reflect on the situation of Northern Ireland. He believe that the performance art allows a freedom of experimentation and Sean share and support this feeling In the room number 1 are the Swedish couple: Niclas and Stina. Now they live in Dubica, Serbia. They are multimedia artists and as curators are founding member of Formverk (art zone), an artist-run project-based association. As artist, Niclas's proposal is based on intimacy and individuality where the public is involved and stimulated through moving picture. Ultimately its investigation deals with questions concerning identities, masculinity and humanity, as he himself says. Stina's proposal is inspired by the human body and its vital drives. She is talking about a body which is a physical and mental body. It is a contextual body and for this, is a sensitive body. After see the rooms we went to dinner. Around the table with good food and drink is always a good time to know each other, share ideas and experiences. I sit beside Cai Qing. He is Chinese. he is teacher and has published his thesis: "Performance Art and Spiritual therapy". We immediately become friends. Sitting at the table there are also the French artists Gilivanka Kedzior and Barbara Friedman. The two are the group "RED BIND."They analyze the conventions and social relations, in and out the context, from the point of view of women. On Saturday, September 7, I propose my action. In the morning I walked by MAS Gallery to the Odzaci main park. I wear blacks pants, white shirt and blue tie with white stars. I have white gloves in my hands and I wear a black bag. My face is covered by a gas mask. In the afternoon, the action takes place in the MAS Gallery, where I prepare and sign absorbent paper to be distributed to those present. The action was a very powerful experience for me and I ask myself if as artists we can be so violent, but at same time I think it is important to preserve the memory even if we hurt us. The German artist Peter Küstermann arrives with his driver, a few minutes before his performance. Since 1983 he is an artist of the network. He ddefinisce himself as email Artist, author, painter, film-maker, art critic, gallerist, and alternative cultural managers in roman (t) ic

old church: BUZ Culture Center in Minden / Germany. In MAS Gallery presents its self-publishing and there plays his magic flute. In  the  festival  I  had  the  pleasure  of  knowing  Radoslav  Čugalj.  He  is  from  Serbia  and  achieves  a  performance with his daughter Emma. Radoslav considers himself as a conceptual artist. The performance of Cai Qing chicken with the plastic chicken is very participative and makes me think, I don't know why, of the manga comics. I commented on this to Cai Qing and he told me that the characters of the manga have eyes like those of chicken. Interesting, I had never thought about this. To close, Nenad proposes to us the harsh reality. Was a very emotional action, where he propose to us bridges built in peacetime and destroyed during the war projected on the wall. He steps in the image with painting. It is the silence. With all this, and finally, I believe that performance is an act of honesty and generosity. Performance is to give of himself unreservedly, you undress, but not necessarily physically, you undress inside, where the body is the interface. As I have argued on other occasions, the performance responds to an impulse to emerge moments of our lives and unresolved desires, unachieved. Some of these experiences are based in our childhood, others to the present. Most of the time, we only perceive the emotion of these experiences. Maybe it is not, but I am convinced that every performance speaks to us of the performer, of its perception and interpretation of the world. GILIVANKA KEDZIOR: Nenad Bogdanovic: BRIDGES II September 8th, 2013 MAS Gallery, Odzaci, Serbia The melody  of  Beethoven’s  piece For Elisa spreads cheerfully throughout the gallery space: it comes to illustrate the series of images projected on the white wall. Bridges, of all kinds, in all sizes, proudly spanning the Danube and its beautiful flowing waters, are spreading over the full height of the wall. Big, strong, very thick, they connect endless spits of flat land, covered with fields as far as the eye can see, a few hardly crowded urban outskirts, two tween hills, none of which may be preferred. Narrow, delicate, aerial, they overhang river mouths as wide as arms of the sea and seem to be the work of strange spiders. Suddenly, the reassuring and bucolic succession of images evaporates under the bursts of the Symphony n° 5 by Beethoven. The powerful rythm of music takes with him any apparent serenity and emphasizes the dread now spreading on the screen: new pictures of bridges are scrolling, but of their strength, their grace, there is nothing left. All are just debris, rubbles, ruins, lying alone in the landscape. Again,  the  music  changes:  it’s  a  waltz,  On  the  Beautiful  Blue  Danube  by  Johann  Strauss,  Jr.     Motionless in a corner of the gallery since the beginning of the projection, Nenad BOGDANOVIC grabs two of the brushes resting in primary-colors-bowls on the floor. Forcefully following the pacy rythm of this waltz, Nenad applies himself to drawing long transversal lines with both hands, where spits of land, fields and hills that man has not linked with his artificial hand are now spreading on the wall. From top to bottom, he vigorously prints thick lines that extend in drips, puts down his brushes, grabs two different ones, draws again two lines, from right to left, two more canals which completely gash the space, and while he is wearing himself out in this incessant waltz, lines overlap, superimpose at the frantic rate of music, colors blend across the landscape, and it suddenly seems that a thousand bridges covered with a thousand blazing flags are dashing out of the bathed in colors cement.

Stina Pehrsdotter: RED LAUGHING BLUES September 9th, 2013 Formverk (art zone), Banatska Dubica, Serbia I think I was still lost in a sweet reverie, face turned to the sky, standing in this wild garden in the middle of a tiny Serbian village, when a full, sonorous and colorful laughter suddenly filled the air as one would take you in his arms: a body, fully covered with a red satin sheet, just came through the door and was now heading for the street. Unwinding the voluptuous shatters of her laugh at every step, the slow red shape was taking us away in her wake: none of us could resist the call of this charming spell, as it was echoing in the depths of ourselves. We all wanted to follow this apparition, to get carried away by the flood of her laugh and discover what others do not see. She crossed the street, laughing loudly, turned off towards the park, still laughing, and we were silently following her, roaming behind her at close range. Red, lively and noisy shape, undulating along the high grass following this small church one afternoon in September, she froze a smile on our faces and made our eyes moist because then we  knew  we  couldn’t  escape  her  anymore.  Her  laughter  was  pouring  on  us  the  most  intense  and opposite emotions, as an invisible cry only stained by the carmine of her veil. I am still carrying the imprint of this stirring appearance. CAI QING: 1. On the way from Odzaci to Dubica Sep 9, 2013, 9 am All participants and our luggage were packed into the minivan owned by the Swedish couple, Niclas and Stina. Niclas was driving us to Dubica. The organizer Nenad must have carefully calculated to invite the exact number of artists, since our van was fully packed and no more space for an extra artist. I was sitting next to Nenad, where wind was blowing through the window. I thought I was lucky to have the scarf, a present from the owner of the Chinese shop in Odzaci. Nenad is a quiet person. I learned that he is a self-taught artist. He used to do factory work and later became a mail-artist. He is also an established curator and publisher. He started to organize the annual international multimedia art festival (IMAF) since 1998, which was only interrupted once the next year due to the YugoslavWars. This year proudly presents the 15th IMAF. He stays in Odzaci and does not want to move to big cities as others. He enjoys the opportunities to interact with artists from all over the world through IMAF in his hometown. He was a shy young guy and performance art liberates him from feelings of insecurity. He has a 26-year old son, who used to attend this event as well, but he could not come this year, due to an extra work duty in other city. I told him that I also incorporate my family members into my work. His girl friend is interested in performance art and has accompanied him to most of the events. She was involved in the interactive performance art this time in Odzaci by two French artists, which inspired him to encourage his girl friend to become a performance artist. After 2-hour journey we finally arrived Dubica through sparsely populated cattle grassland. Within the woods we  found  Niclas  and  Stina’s  home.  They  have  purchased  the  10,000  Euro  cottage  about  a  year  ago, where they intend to stay for the rest of their lives. This is a cozy home. They have connected two buildings with a wooden shack to host most of our activities. From the backyard we can see a church in the nearby village.

2. Selected after-dinner activities in Dubica; Niclas started his work first. He was sitting in front of a table under the spotlight. There were 4 different materials on the table; Fluor, honey mixed with coco powder, white sugar and coffee powder. He first submerged his face into flour and his face turned white. Subsequently, he placed his face into honey mixed with coco powder, the white flour was mixed with dark honey coco, then moved on to the next material. Gradually his face coated with different materials showed versatile facial expressions and sometimes they reflected sadness. This work resembles  the  western  style  of  Chinese  “changing  face”. Gustaf  walked  towards  Niclas’s  seemly  endless  work.  He  switched  on  a  bright  light  and  placed  it  on the grass floor. He started to read newspaper out loud. Finally, he walked backwards with a piece of grass on his hand until he disappeared into the woods, while Nenad turned off light at the right moment. Gustaf disappeared completely. Nenad continued to use a small flashlight attempting to find four-leafclover (which is sign of future happiness) on the ground for a very long time, then he emerged from the darkness with a white canvas and utilized the collected three-leaf clovers to make four-leaf clovers on canvas. He  said,“  I  am  very  happy”. These three artists had very good tacit understanding and their works were well connected, smooth and vivid. Just a small hiccup caused by two Irish artists as audiences, who were so involved in catching good photos and sometimes got too close to the performer. They raised their cameras with long lens either standing or laying down to get the best shoot. They were very exciting with a lot of movements, which seriously destructed the perfect performance work. Actually they are very good artists and their works are very serious and powerful. Hopefully, in the future they will keep their distance to an ongoing performance work unless they were invited to interact. *Extracted  from  my  blog  “Looking  for  Marie  Abramovic”  (http://blog.artintern.net/article/375393)

Otvaranje IMAF 2013 – Peter Küstermann – Opening of IMAF 2013:

Performansi / Performances: Fausto Grossi (Španija  /  Spain) Fausto Grossi was born in Italy fifty-eight years ago. He is graduated as a sculptor by A.A.B.B. Frosinone, Italy and by the UPV Lejona, Vizcaya, Spain. Currently lives in Bilbao, Spain, where, with his wife Victoria and his daugther Luz, he works as "pizzaiolo" and "pasta maker" in Pasta y Pizza Grossi http://www.pastaypizzagrossi.com In Spazio Grossi which share place with Pasta y Pizza Grossi he develops his cultural activity. http://www.pastaypizzagrossi.com/art.htm He as been invited to participate in internationals performances festivals and artistic events in Spain, Italy, France, Poland, Serbia, Switzerland, Portugal, Brazil and the U.S. “TEROROM  PROTIV  HORORA  1”  /  “TERROR VERSUS HORROR 1”:

“TEROROM  PROTIV  HORORA  2”  /  “TERROR VERSUS HORROR 2”:

Peter Küstermann (Nemačka  /  Germany) Peter Küstermann was born in Hagen/Westphalia in 1950. He has contributed to the network since 1983 as Mail Artist, author, painter, filmer, art critic, gallerist, and alternative cultural manager in a roman(t)ic old church: Culture Center BÜZ in Minden/Germany. His works are represented in numerous collections: Museum of Modern Art/New York, Tate Gallery/London, Biblioteca Publica de Aragon/Spain, Dallas Public Library/Texas, Mail Art Museum Koshienguchi/Japan, Artpool Archive/Budapest, The Museum of Museums Waregem/Belgium, Literaturium Edewecht/Germany, Biblioteca Nacional de Lisboa/Portugal and diverse other Postal Museums. The editors of the Guinness Book of Records elected him together with Angela Pähler World Champions as Travelling Artpostmen in historic uniforms under their artist names Angela and Peter Netmail. Peter does worldwide performances as Death playing nude on the violoncello, also as singing Dada-woman  “Petra”,  and  as  magician  “El  Magnifico”,  as  German  Pope  „Papa-Ratzi“,  as  Book  Baker, and as Doctor Mailart. Being chairmen of the Culture Society WOLKENSTEIN e.V., Angela and Peter edit the Art- and Mailart Magazine OSWALD. Every year, they organize an international Mail-Art & Performance-Festival and several  Poetry  Slams  at  “Mail-Art-Mekka  Minden”/Germany.

“MAGIČNA  FLAUTA”  /  “THE  MAGIC  FLUTE”:

Christof Gillen (Severna Irska/Velika Britanija / Northern Ireland/UK) Christof Gillen has worked in performance, installation site and time based art for the past 20 years. Christof studied sculpture at the University of Ulster, Belfast graduating the a BA(hons) in 1998  and  following  this  he  undertook  a  MA  in  ‘  Art  &  Public’ University of Ulster, Belfast in 2009. Gillen feels that performance art allows a freedom of experimentation. His work is cathartic challenging the viewer to engage in personal, political, religious and social forms of dialogue. His actions are a commentary on themes relating to Northern Ireland and contemporary cultural politics. Gillen is active within the performance and visual arts community in Belfast he is a member of the  performance  collective  ‘Bbeyond’  and  a  member  of  ‘Queen  Street  Studios’  Belfast. Recent  work  has  been  presented  at  ‘Duo  Days’,  Catalyst  Arts  Gallery  (13),  ‘Rain’,  PS2  project  space,  Belfast  (12),  ‘Tick  Tock’  (11),  ‘Art  Rebels’  Catalyst  Arts  Gallery  (10),  ‘Imagine  a  city  of  culture’,  Black  mountain,  Belfast  (09)  ‘Golden  Thread  Gallery’  project  space,  Belfast  (09),  ‘I  AM’  Polish/Irish  performance  art  exchange’,  Belfast  (08),  Art  Trail,  Cork,  Ireland  (07). “IMAGINE  A  CITY  OF=”:

“HODANJE“  /  “WALKING”:

”1968-PUTOVANJE-2013”  /  “1968-JOURNEY-2013”:

Niclas Hallberg (Švedska/Srbija  /  Sweden/Serbia) Niclas Hallberg (1965) works in video, photo, installation and performance. His experimental works deals with questions concerning identities, masculinity and humanity. He is using the moving picture to express feelings, create inpressions and document performances. He often uses himself as an instrument and actor and hereby he creates a feeling of intimacy and individuality. Niclas Hallberg has participated in a great number of solo and group exhibitions in Sweden and abroad. He has long experience of arranging and leading workshops in a varity of creative contexts. Niclas Hallberg is engaged in several international art projects focused on collaborational exchanges resulting in exhibitions, video-screenings and residencies around the world. Niclas Hallberg founded Formverk (art zone) 2004, an independent project-based exhibition association, together with Stina Pehrsdotter. www.niclashallberg.se "TRANSFORMACIJA" / "TRANSFORMATION“:

Niclas Hallberg (Švedska/Srbija / Sweden/Serbia)

"TRANSFORMACIJA" / "TRANSFORMATION"

”UZMI  KOLAČ”  /  "TAKE  A  CAKE":

“STOP”  /  "STOPP":

Cai Qing (Kina/Singapur / China/Singapore) Cai Qing (Sonnenberg) Born in He Long Jian China Zhejiang Academy of Fine Arts, China 1989 Move to Germany 2001 Move to New York, USA 2007-2012 Assistant Professor in NTU, School of Art, Design and Media 2011 PhD of China Academy of Fine Arts, Hangzhou "VRISKA“  /  “SCREAMS":

“NEBESKI  FENJER  DUBICE”  /  "DUBICA'S  SKY  LANTERN":

"CRVENA ZVEZDA" /  “RED  STAR“:

Gilivanka Kedzior & Barbara Friedman (Francuska / France): Gilivanka Kedzior & Barbara Friedman have been working together since 2010 as [RED BIND]. As visual artists working with performance, video, sound and photography, they analyze the confrontation to otherness and its inter-thematic with subjects such as: social yokes ; dominant/dominated relationships ; codes and what happens to them out of their context ; gender and its limits and ambiguities ; issues of the double and of the multiple characters under a single skin ; or yet the identity, status and image of Woman. They have shown video works at several international venues including the Prince Charles Cinema in London, United Kingdom (Nov. 2011) ; the CAM | Casoria Contemporary Art Museum in Naples, Italy (March 2012) ; the University of La Rioja, Logroño, Spain (June 2012) ; the Faculty of Arts, Timisoara, Romania (Oct. 2012) ; the Cultural Center, Belgrade, Serbia (Oct. 2012) ; the Fundação Oriente, Macau, China (Dec. 2012) ; the Mori+Stein Gallery, London, United Kingdom (Jan. 2013) ; the SAZMANAB Platform for Contemporary Arts, Teheran, Iran (Feb. 2013) ; the Goethe Institut, Toulouse, France (March 2013) ; Videotage, Hong Kong (April 2013) ; the Contemporary Art Museum of Wroclaw, Poland (April 2013), and the Museum of Art of  Łódź, Poland (June 2013). In the realm of performance, they have performed at venues including DIMANCHE ROUGE Festival of Experimental Performances (Sept. 2011) and IRL Performances (Jan. 2013) in Paris ; the Traverse Video Festival, Toulouse, France (March 2013) ; MPA | Month of Performance Art, Berlin (May 2012) ; ARENA... of the young Arts | International Theatre Festival, Erlangen, Germany (July 2012) ; the Lower Polk Art Walk and many Art galleries in San Francisco, United States (Nov. 2012), as well as the ATHENS Video Art Festival | International Festival of Digital Arts & New Media, Athens, Greece (June 2013). Their performance [ ACANTHESTHESIA ] has been rewarded with the ARENA... of the young Arts Co-Production Prize (July 2012, Erlangen, Germany). They currently live and work in Toulouse, France. http://www.kedzior-friedman.org/

“DOUBLE  BIND  #2”  /  “DUPLA  VEZA  #2”:

“STAKLENA  MENAŽERIJA”  /  “THE  GLASS  MENAGERIE”:

“RED-EYE  WALK”:

Ema & Radoslav Čugalj (Srbija / Serbia): Radoslav Chugaly is conceptual artist, poet, performer, works with artistic objects and instalations, participated on many colective art exhibitions and festivals in Europe, Asia and America. Works in Odzaci. Selected live participations: 2000. - IMAF 2000, Gallery "MAS", Odzaci, Serbia / 2001. - Gallery "Multimedia Arts", Novi Sad, Serbia - Artfort Festival, Komarom, Hungary - IMAF 2001, Gallery "MAS", Odzaci, Serbia / 2002. - IMAF 2002, Gallery "MAS", Odzaci, Serbia / 2003. - PerformaNS, Gallery "Golden Eye" Novi Sad, Serbia - IMAF 2003, " Kamariste", Odzaci, Serbia / 2004. - IMAF 2004, Gallery "MAS", Odzaci, Serbia / 2005. - Transformation, International Festival, Zrenjanin, Serbia - IMAF 2005, Gallery "MAS", Odzaci, Serbia - IMAF 2005, Students Cultural Center, Belgrade, Serbia / 2006. - IMAF 2006 "IZBA", Novi Sad, Serbia / 2007. - "Performance Time", Museum of Contemporary Art, Istanbul, Turkey - "INFANT", KCNS, Novi Sad, Serbia. “RODITELJSTVO”  /  “PARENTING”:

“RODITELJSTVO II” /  “PARENTING  II”:

Gustaf Broms (Švedska  /  Sweden) In 1966 this human body was born, it was given the name Gustaf Broms. This concept now exists in a place called Sweden. To use the time in this predicament as a way to explore the nature of consciousness. Trying to make a translation of the flow of life into a condensed symbol, as a tool for understanding. Spending the last few years looking into the dualistic concept  of    “I”,  in  terms  of  association  with  the  idea  of  BEING  NATURE,  as  the  actual  biological reality this body goes through, and BEING MIND as a very direct experience of REALITY. Started out using physical materials (photography, installations) for this exploration, two works led me towards a more formless process. In 1991 I burnt all my work, and realized how the intensity of the action, and the remaining ash far outdid anything I had previously done. In 2005 after  the  work  “5  faiths  for  a  brave  new  world”,  with  objects  that  became  physically  too  heavy  for  this body to move. These two experiences created a longing to explore the FORMLESS, and led  up  to  the  project  “  a  walking  piece”  (with  Trish  Littler),    a  walk  from  Vendel  to  Odessa.  During  the walk, it became very clear to me that my experience was a reflection of my thoughts and attitudes, rather than what my senses registered. I became interested in the use of my own body as the tool for looking at these processes, inner outer, stillness/movement etc. This reasoning  led  to  the  work  “the  sitting”,  where  I  put  my  body  in  sitting  position at the central station in Stockholm during rush hour for one year – as an evolution of the walk. Since 2009 I live  in  the  forest  of  Vendel  and  work  on  a  series  of  “movements”  that  explores  why  THE  DANCING ATOMS OF THIS BODY are not merging with the dancing atoms surrounding it ? www.orgchaosmik.org “SPAJANJE  #14”  /  “MERGE  #14“:

“SPAJANJE  #15”  /  “MERGE  #15“:

“SPAJANJE  #16”  /  “MERGE  #16“:

:

Stina Pehrsdotter (Švedska/Srbija  /  Sweden/Serbia) Stina Pehrsdotter (1966) is curator and artist working in video, photography, installation, objects and performance arts, inspired by the human body and its surrounding. In her work she focuses on  the  body's  and  mind’s  desires, needs, wishes, regret and loss. Her works often reflects the connection between mind, body and soul, and tensions between body and environment. Her work may be viewed as exploration of existence, memories and the significance of human life. Stina Pehrsdotter has participated in numerous exhibitions in Sweden and abroad. She is involved in several international video collaborations, shown in exhibitions and festivals. As a curator, she has organized many showings and exhibitions in a variety of contexts, and as a founding member of Formverk (art zone), an artist-run project-based association, she has a broad network of other artists and independent art initiatives. www,pehrsdotter.se “GLäDJENS  BLOMSTER  (CVEĆE  RADOSTI)” / “GLäDJENS  BLOMSTER  (FLOWER  OF JOY)”:

”CRVENI  BLUZ  SMEHA”  /  “RED  LAUGHING  BLUES”:

“TWISTED  ON  THE  BACK”:

Nenad  Bogdanović (Srbija / Serbia): Born in 1955 in Odzaci, Serbia. He is engaged in multimedia art, photography, xerox art, video, installation art, performance and art actions. His appearance at the beginning of the eighties in the international art network, "mail art," he marked an post avant-garde period of Yugoslav art and his art work has been recognized and accepted internationally. Freelance visual and performance artist, publisher and curator. Member of art societies of Vojvodina (SULUV) and Serbia (ULUS). From 1984 to 1988 founded and published alternative international art magazines "Total" and "Second Manifesto". Curator of various international art projects and exhibitions since 1980. 1998. he founded of Multimedial Art Studio and MAS Gallery in Odzaci, Serbia. Organiser and curator of International Multimedial Art Festival - IMAF (since 1998, dedicated to performance art). He is the editor and owner of MAS Gallery in Odzaci than 1998 year. Participates in group exhibitions since 1975 year, in more than 500 exhibitions in more than forty countries in the world. Since 1980 Nenad realized his art performances and art actions on many international festivals worldwide (France: 1994, 2011, 2012 & 2013, Italy: 1995, 2003, 2004 & 2011, Slovakia: 1996, Germany: 1996, Japan: 1997 & 2008, Romania: 1998, Poland: 1999, 2007, 2010, 2012 & 2013, Hungary: 2001 & 2011, Belarus: 2001, United Kingdom: 2004 & 2010, Northern Ireland: 2004 & 2011, Switzerland: 2004, USA: 2005, Canada: 2006 & 2008, Turkey: 2007, Israel: 2007, and many times from 1980 in Serbia. From 1993 Nenad starts working on the art project called "Man Gallery" that lasted 15 years. Realised art tours with Man Gallery project in France 1994, Italy 1995, Germany 1996, Japan 1997 and Switzerland 2004. In 2003 year realised two art performances on 50th International Biennial of Venice-Italy (in the International Art Project: Brain Academy Apartment). More about the artist: www.bogdanovicnenad.weebly.com

“MOSTOVI  II”  /  “BRIDGES  II”:

“SREĆA”  /  ”HAPPINESS”:

“57  SRCA”  /  “57  HEARTS”:

József R. Juhász (Slovačka/Mađarska  /  Slovakia/Hungary):   József R. Juhász (1963, Slovakia) is intermediary oriented performer and poet. He realized hundreds of performances and published four books of experimental poetry. Since 1987 he is the leader of Studio erté (International Multimedia Art Organizing Company) that he co-founded in Nové Zámky with purpose to support action and multimedia art. Till today he organized under its aegis nineteen international multimedia/performance  art  festivals  „Transart  Communication“.  Since  1989  the  editorial  board  member  of  prestigious  art  magazine  „Hungarian  Workshop“.  In  2000 he co-founded  the  Kassák  Centre  for  Intermedia  Creativity  „K2IC“.  From  2009  he  realized  several performance art workshops in Slovakia. “STAVI  GLAVU  U  PESAK”  /  "BURY  YOUR  HEAD  IN  THE  SAND":

FESTIVAL  JE  ORGANIZOVAN  UZ  PODRŠKU  /  FESTIVAL  WAS  SUPPORTED  BY: Ministarstvo kulture i informisanja Republike Srbije / Ministry of Culture and Information of Republic of Serbia Autonomna pokrajina Vojvodina, Pokrajinski sekretarijat za kulturu i javno informisanje / Autonomus province of Vojvodina, Provincial department of culture and media Opština  Odžaci  /  City of Odzaci PARTNERSKE ORGANIZACIJE / PARTNER ORGANIZATIONS: Savez  udruženja  likovnih  umetnika  Vojvodine  /  Alliance of Artists Associations of Vojvodina Formverk  (umetnička  zona)  /  Formverk (art zone) POSEBNA  ZAHVALNOST  NA  POMOĆI  /  SPECIAL  THANKS  FOR  SUPPORT  TO:   Niclas Hallberg Andrija Ivanov Milena  Mitić Stina Pehrsdotter Dušan  Perić   Petar  Perić Darko Stojkov Đula  Šanta Bojana  Vlahović MEDIJSKA PREZENTACIJA / MEDIA PRESENTATION: TV  „Kanal  25“,  Odžaci „Radio-televizija  Vojvodine“,  Novi  Sad „Radio  Odžaci“,  Odžaci „Radio  D65“,  Odžaci „Dnevnik“,  Novi  Sad „BLIC“,  Beograd „Naše  novine“,  Odžaci www.artmagazin.info www.upoznajsrbiju.co.rs www.kultura-vojvodina.org.rs www.creemaginet.com/ www.klubputnika.com www.srbija.travel www.manifestacije.com

www.vojvodinaonline.com/ 15.  Međunarodni  festival  multimedijalne  umetnosti  – IMAF 2013 07. septembar - 11. septembar 2013. URL: www.imaf-festival.weebly.com 15th International Multimedial Art Festival – IMAF 2013 September 7th - September 11st, 2013 IZDAVAČ  /  PUBLISHER:   Studio  za  multimedijalnu  umetnost,  25250  Odžaci,  S.  Markovića  41,  Srbija   Multimedial Art Studio, 25250 Odzaci, S. Markovica 41, Serbia GLAVNI I ODGOVORNI UREDNIK / CATALOGUE EDITOR : Nenad  Bogdanović   ORGANIZATOR FESTIVALA IMAF 2012 / ORGANIZER OF THE IMAF 2012 FESTIVAL: Studio  za  multimedijalnu  umetnost,  Odžaci,  Srbija   Multimedial Art Studio, Odzaci, Serbia VIDEO SNIMCI / VIDEO : Nenad  Bogdanović,  Barbara  Friedman,  Dušan  Perić,  Petar  Perić FOTOGRAFIJE / PHOTOS: Barbara Friedman, Christof Gillen, Fausto Grossi, Niclas Hallberg, Andrija Ivanov, Stina Pehrsdotter,  Dušan  Perić,  Petar  Perić,  Darko Stojkov, Cai Qing KATALOG PRIPREMILI / CATALOGUE PREPARED BY: Nenad  Bogdanović,  Andrija  Ivanov, Đula  Šanta TEKSTOVI / TEXTS: Nenad  Bogdanović,  Fausto  Grossi,  Gilivanka  Kedzior,  Cai  Qing ENGLESKI PREVODI / ENGLISH TRANSLATIONS: Radoslav  B.  Čugalj WEBMASTER: Nenad  Bogdanović TIRAŽ  /  EDITION:   350