izbor iz kolekcije galerije skc kragujevac · 2018-10-14 · kada je 2014. otvoren novi galerijski...
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IZBOR IZ KOLEKCIJEGALERIJE SKC
2015–2016.
IZBOR IZ KOLEKCIJEGALERIJE SKC2015–2016.
IZBOR IZ KOLEKCIJE
GALERIJE SKC
2015–2016.
IZBOR IZ KOLEKCIJE
GALERIJE SKC
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GALERIJE SKC
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ALERIJE SKC2015–2016.
IZBOR IZ KOLEKCIJE
GALERIJE SKC2015–2016.
IZBOR IZ KOLEKCIJE
GALERIJE SKC
2015–2016. IZBOR IZ KOLEKCIJE
GALERIJE SKC
2015–2016.
IZBOR IZ KOLEKCIJEGALERIJE SKC
2015–2016.
IZBOR IZ KOLEKCIJEGALERIJE SKC 2015–2016.
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IZBOR IZ KOLEKCIJEGALERIJE SKC KRAGUJEVAC
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IZBOR IZ KOLEKCIJEGALERIJE SKC
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IZBOR IZ KOLEKCIJEGALERIJE SKC2015–2016.
IZBOR IZ KOLEKCIJE
GALERIJE SKC
2015–2016.
IZBOR IZ KOLEKCIJE
GALERIJE SKC
2015–2016.IZBO
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GALERIJE SKC
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ALERIJE SKC2015–2016.
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GALERIJE SKC2015–2016.
IZBOR IZ KOLEKCIJE
GALERIJE SKC
2015–2016. IZBOR IZ KOLEKCIJE
GALERIJE SKC
2015–2016.
IZBOR IZ KOLEKCIJEGALERIJE SKC
2015–2016.
IZBOR IZ KOLEKCIJEGALERIJE SKC 2015–2016.
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2015–
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KONTAKT Galerija SKC Kragujevac, novembar 2017. godineCONTACT Gallery SKC Kragujevac, November 2017
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Predrag Terzić #22
Ana Knežević #24
Nemanja Nikolić #26
Ana Piljić Mitrović #28
Jelena Ilić #30
Niina Todorović #32
Milica Antonijević #34
Nevena Popović #36
Mihailo Vasiljević #38
Vladimir Ranković #40
Draga Jovanović #42
Milica Jakšić #44
Ljubiša Simović #46
Marija Bogdanović #48
Dragana Dragutinović #50
Jovana Trkulja #52
Jelena Savić #54
Ivan ArsenijevićGALERIJA SKC: ZNAČAJNO UPORIŠTE SAVREMENE VIZUELNE SCENE #7
SKC GALLERY: SIGNIFICANT BASE OF CONTEMPORARY VISUAL SCENE #9
Ksenija MarinkovićSEGMENTI KOLEKTIVNOG #11
SEGMENTS OF THE COLLECTIVE #15
SadržajContent
Kada je 2014. otvoren novi galerijski prostor u okviruStudentskog kulturnog centra Kragujevac – KONTAKTGalerija SKC, u kome je u septembru te godine publicipredstavljena izložba 10+ Izbor iz kolekcije galerije SKCKragujevac, odmah je ukazano i na nove, značajnouvećane tehničke potencijale i kapacitete za realizacijukompleksnijih programa. Izložbom 10+ Izbor iz kolekcijegalerije SKC Kragujevac na najbolji način je predstavljen ijedan dosledan i koherentan galerijski koncept GalerijeSKC koji se kreće i nastaje u polju istraživanja iprezentovanja radova i autora koji stvaraju na našojsavremenoj vizuelnoj sceni. Jasno postavljenim iprofilisanim galerijskim konceptom Galerija SKC uspelaje da održi i prepoznatljivu poziciju značajnog uporištasavremene umetničke scene van glavnog centra,Beograda, i time je u velikoj meri uspela da bude akteru decentralizaciji umetničkog prostora Srbije. Tada je inastala ideja za kontinuiranim iščitavanjem kolekcijeGalerije SKC, kao i određenim definisanjem mogućnosti,koje ova kolekcija nudi za dalji rad. I upravo, ovomizložbom koja je produkcijski nastala za prostorKONTAKT Galerije SKC, koja predstavlja izbor radova,autora koji su svoje samostalne izložbe održali u SKC-utokom 2015–2016. godine, ustanovljava se praksaprezentovanja kolekcije nakon dve završene galerijskesezone.
Na izložbi je predstavljeno sedamnaestoro autorasa istim brojem radova, i sigurno odmah treba istaćičinjenicu da se pri izboru radova za ovu izložbu, nismorukovodili prostom logikom izbora najboljih prikupljenihradova, onim najboljim što su umetnici koji su izlagaliostavili za galerijsku kolekciju, već željom da svakiizabrani rad što bolje komunicira u jednoj novoj,sadržajno-kompleksnijoj postavci sa drugim radovima,da sama izložba bude u funkciji umetničkih radova. Tonužno imlicira da ovaj izbor nije apsolutno zatvoren,već svakako postoji mogućnost za otvaranje novogiščitavanja, možda, na neku postavljenu tematsko-problemsku okosnicu, jer kvalitet radova koji se nisu uovom izboru našli, to sigurno dozvoljava.
Tokom 2015–2016. godine, program Galerije SKCkoji je ustanovio umetnički savet galerije, predstavio jekragujevačkoj publici izložbe već afirmisanih autora alii radove autora mlađe generacije koji su svojimkvalitetnim umetničkim produkcijama privukli pažnjustručne javnosti. Takođe, značajna je i raznovrsnostsamih medija izražavanja autora na održanimizložbama - od crteža, grafike, objekata, fotografije,skulpture do video radova.
Ove pomenute fragmente predstavljenihsamostalnih izložbi, pronalazimo i na uspostavljenojnovoj celini, gde postoje zastupljena ta kretanja i
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uvezivanja – između izabranih autora i različitih medija –radova (već afirmisanih autora poput Peđe Terzića, AneKnežević, Nine Todorović, Mihaila Vasiljevića, VladimiraRankovića, Milice Antonijević, sa radovima autora mlađegeneracije koji svoje umetničke karijere grade paralelnosa stručnim usavršavanjima na doktorskim studijamapoput Nemanje Nikolića, Marije Bogdanović, Jelene Savić,Jovane Trkulje, do grupe autora koja je aktivna na sceniali koja krajnje nepretenciozno gradi svoju umetničkupoziciju, kao samosvesni izbor svoje umetničke strategije,poput Nevene Popović, Jelene Ilić, Ane Piljić Mitrović,Milice Jakšić, Drage Jovanović, Dragane Dragutinović,Ljubiše Simovića) i raznovrsnosti zastupljenih medija, kojiintimističkoj atmosferi koja je na ovoj postavci naglašena,nude jedan značajan intezitet – impuls za njenoiščitavanje. Ovo uvezivanje se usložnjava samnogostrukim temama koje promišljaju autori (odrazličitih fenomena savremenog društva i stavljanjapojedinca u fokus - u kontekstu društvenog sistema,datih sistema vrednosti, njegovog identiteta, njegovepozicije u savremenom razvijenom tehnološkom dobu,odnosa prema drugima, pitanja odnosa prema sećanju ipamćenju, odnosa digitalnog i analognog), koje se krozsložene slojeve radova iščitavaju, dajući nam mogućeodgovore o stanju umetnosti danas - koliko je zapravoona u stanju, i da li može i koliko da artikuliše pozicijučoveka/pojedinca u sadašnjem savremenom trenutku.
Zasigurno je, da će ova izložba, kao i svakanaredna, doprineti boljem razumevanju savremene
vizuelne scene, njenom jačanju i boljoj vidljivosti,afirmaciji pozicije njenih aktera, i postaviti novemogućnosti za razvoj specifičnih umetničkih praksi kojeGalerija SKC neguje.
Ivan Arsenijević, urednik likovnog programa SKC Kragujevac
SKC Gallery Contact, within the Student Cultural Centerof Kragujevac, was opened in 2014 as a new galleryspace and in September of the same year, as theexhibition 10+ the selection from the gallery collection ofSKC Kragujevac, was presented to the audience, itimmediately indicated new technical potentials andcapacities, significantly increased, for the realization ofmore complex programs. The exhibition 10+ theselection from the gallery collection of SKC Kragujevac,presented in the best way also a consistent andcoherent gallery concept of SKC Gallery that isemerging and moving in the field of research andpresentation of artworks and authors, active on ourcontemporary visual scene. With clearly set andprofiled gallery concept, SKC Gallery managed tomaintain a recognizable position of a significant base ofthe contemporary art scene outside the main centerof Belgrade, and thus, managed in the large degree tobe participant in the decentralization of Serbia’s artisticspace. At that time, the idea of continuous reading ofSKC Gallery was created,as well as certain defining ofthe possibilities that this collection offers for furtherwork. And precisely, with this exhibition, which wasprepared for the space of SKC Gallery Contact,representing a selection of artworks of the authors whoheld their solo exhibitions in SKC, in period 2015–2016,
the practice of presenting the collection after twocompleted gallery seasons was established.
The exhibition presented seventeen authors withthe same number of artworks, and for sure it shouldbe immediately pointed out that in the selection of theartworks for this exhibition, we were not guided by thesimple logic of choosing the best ones from thecollected artworks, or by the ones left for the gallerycollection by the authors themselves, but we wereguided by desire that each selected piece of artcommunicates, as better as possible in a new, morecomplex exhibition item with other artworks, in termsof content, so as the exhibition itself would be in thefunction of the works of art. This necessarily impliesthat this selection is not absolutely closed, and thatthere is a certain possibility of opening a new reading,perhaps on some given thematic and problemframeworks, because the quality of the artworks,notincluded in this selection, certainly allows it.
During the following period 2015–2016, theprogram of SKC Gallery, established by the gallery artscouncil, presented to the audience of Kragujevac theexhibition of already well-known authors, as well asthe artworks of the authors of younger generationwho have attracted the attention of the professionalpublic with their high-quality art productions. Also
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important is the diversity of media used for expressionof the authors at the exhibitions held – includingdrawings, prints, objects, photographs, sculptures andvideo works.
The above-mentioned fragments of the presentedsolo exhibitions are also found on newly establishedunity, where movements and binding exist – betweenselected authors and various media – works of art(already affirmative authors such as Pedja Terzic, AnaKnezevic, Nina Todorovic, Mihailo Vasiljevic, VladimirRankovic, Milica Antonijevic, with the artworks of therepresentatives of younger generation, who at thesame time make their artistic careers as well as theydo their professional development, doing doctoralstudies such as Nemanja Nikolic, Marija Bogdanovic,Jelena Savic, JovanaTrkulja, along with a group of theauthors active on the scene but extremelyunpretentiously building their artistic position, as a self-conscious choice of their artistic strategy, such asNevena Popovic, Jelena Ilic, Ana Piljic Mitrovic, MilicaJaksic, Draga Jovanovic, Dragana Dragutinovic, LjubisaSimovic) and diversity of represented media, that offera significant intensity to the intimate atmosphere,emphasized on this exhibition – impulse for its reading.This binding becomes more complex by the multipletopics thought by the authors (from differentphenomena of contemporary society, putting theindividual in focus – in the context of the socialsystem, established system of values, its identity, its
position in the modern and developed technologicalage, relations with others, questions on relationshipwith memory and remembering, then relationshipbetween digital and analogue), which are read throughcomplex layers of artworks, giving us possible answersabout the state of the art today – how much art isactually capable and whether it can articulate theposition of a man / individual at the present moment.
This exhibition, for certain, as well as those thatwill be held in the future, will contribute to a betterunderstanding of the contemporary visual scene, itsstrengthening and better visibility, affirmation of theposition of its actors, creating new opportunities for thedevelopment of specific art practices that SKC Gallerynourishes.
Ivan Arsenijevic,Editor of Visual Arts SKC Kragujevac
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Praksa formiranja kolekcije iz galerijsko-izložbenogprograma ustanove kulture ne može se porediti saradom komercijalnih umetničkih galerija koje u okvirusvoje de lat nosti imaju za cilj trgovinu umetničkimdelima. Ovde nije reč o razmeni dobara – uslugemarketinške i tržišne pre zntacije autora za umetničkiproizvod. Ustanove kultu re koje su ovakvu praksuuvrstile u svoje aktivnosti za da le su odgovoran i složenzadatak kustosima i me na dže ri ma da ostvarekontinuiran i kvalitetan program koji svedoči o akutnomstanju na polju umetničkog stvara laštva.
Izložba predstavlja izbor radova iz umetničkekolekcije galerije SKC Kragujevac koji su prikupljenitokom sezone 2015–2016 godine. Radovi u kolekcijiprikupljani su od 2004. godine. Ovo je druga izložbaradova iz kolekcije. U odnosu na prethodnu održanu2014. nešto sažetija. Sa dr ži dela 17 autora. U izboru smopokušali da obuhvati mo što veći broj medija – odcrteža, skulture preko gra fi ke, fotografije i videa.
Osobenost postavke ogleda se u atmosferi.Svedenost likovnog izraza, odsustvo boje, tehnike imaterijali la ganih struktura, ostavljaju utisak težnje kanematerijalnom. Za većinu radova karakterističan jepogled unazad. Osvrt na sopstvenu ili kolektivnuprošlost u cilju rešavanja pitanja identiteta u kome jevidljivo istaknut konflikt pojedinac – društvo,
pojedinčno – kolektivno. Ovakva vrsta razmatranjaiziskuje određenu smirenost i izolaciju. Istraživanjeodnosa tradicionalnih i digitalnih medija takođe jeosobenost većeg broja radova.
U video radu Nemanje Nikolića Panic Book, crtežje nosilac likovnosti. Montažom, dramaturgijom irežijom kreira dinamični narativ inspirisan estetikomAlfreda Hičkoka. U centru umetnikovog interesovanja jepojedinac u odnosu na društvo. Upotreba tekstaključna je za percepciju rada kao ideološki i kritičkiorijentisanog. Odnos jedinke prema sebi i svest odrugom u radu Peđe Terzića izražena su suptilnimcrtežom košarkaša u sportskom okršaju, koji prilikomdodira istovremeno nanose povrede sebi samima idrugom. Telo kao nosilac fizičkog integriteta jedinkepostaje sredstvo za sticanje koristi, u ovom slučajupobede na terenu. Distanciran od sopstvenog telapretvoren u men mašin, kao odraz emancipacije iprofesionalnog savršenstva. Odricanje, trpljenje idisciplina, koje leže u osnovi savremene sportskeprakse istovremeno se mogu uporediti i sa putemnapredovanja u ovladavanju umetničkim izražavanjem,koje je u neprekidnom procesu unutrašnje borbe,upornog rada na sebi i preispitivanja sopstvenihvrednosti, snaga i izdržljivosti. Druga linija kritičkogodnosa prema identitetu vidljiva je u ovoj izložbi kroz
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radove nekoliko autora. Marija Bogdanović transformišeobeležja ličnog – svoje odeće, u konstruktivni materijalza realizaciju umeničkog dela. Ovakav postupak sadržinešto od zen filozofije. Dekonstrukcija značenja kojunosi odeća kao lažno sopstvo vodi ka oslobađanju odsupstancijalističke iluzije o trajnosti istog i njegovihatributa. Razaranjem odnosa posedovanja i vezanostimenja se i percepcija jedinke u odnosu na spoljašnjisvet. Milica Jakšić otkriva drugu stranu istog problemagde nežive predmete, u ovom slučaju reprodukcijeolupina automobila, poistovećuje sa ljudskim telompotencirajući njihovu prazninu i otuđenost odsopstvene prirode. Porcelan od koga je strukturasačinjena dodatno naglašava krhkost i površnostljudskog života lišenog dubljeg i kvalitetnijeg sadržaja.Kriza humanističke dimenzije života na različite načineje predmet interesovanja Milice Antonijević, LjubišeSimovića i Mihaila Vasiljevića. Milica rešenje nalazi,ponovo u oživljavanju sećanja, ali ne ličnog već onogkolektivnog arhetipskog sećanja na zlatno dobačovekove prirode. Motiv vode i ronioca imatransedentalnu dimenziju u njenom delu. Poniranje udubine podsvesti u kojoj se pronalazi izvor neiscrpneživotne energije i stvaralaštva. Egzistencijalističkopreispitivanje smisla u radu Ljubiše Simovića Zarobljeniu slobodi naglašeno je monumentalnom izvedbomonoga što bi se moglo nazvati estetikom ružnog.Ružno se ovde kao kategorija ne odnosi na formalneosobine dela već na posledice i uzročnike savremene
tragedije u kojoj svesno ili nesvesno učestvujemo. RadMihaila Vasiljevića, dominantno opominje na to dasmo sami kreirali svoje sintetičko okruženje kaokvalitativni element emancipacije. Fotografija figuricemedveda uvećana do prirodne veličine sablasno inemilosrdno svedoči o stepenu izvitoperenosti društvakoje svesno minimalizuje posledice takvog procesa.Fotografija zauzima značajno mesto u kolekciji i na ovojizložbi zastupljena je sa četiri rada. Jedan od njih je delomlade umetnice Jovane Trkulje. Ona ispituje osetljivugranicu fotografije kao sredstva za prikazivanjeiskonstruisane realnosti i njenog dokumentarnogkaraktera. Pristupačnost upotrebe ovog medijapojavom digitalne fotografije i virtuelne stvarnosti ukojoj dnevno učestvuemo dodatno pojačava ovajproblem. O uticaju tehnike na život čoveka govoreradovi Nevene Popović i Jelene Savić. Obe autorkereflektuju izvesnu dozu nostalgije. Nevena se bavianalizom subjektivne – lične percepcije brzine kaokvalitativne kategorije tehnološke ekspanzije. Onapodseća da je korak nepromenljiva merna jedinicahumanog ritma, te da ubrzanje u odnosu napercepciju modernog vremena nužno utiče naorgansku transformaciju čovekove prirode. Jelena Savićse bavi pitanjem relevantnosti emocija i sećanja u eriekrana. Osvrt na prošlost interpretira upotrebomformata ekrana retro televizora iz polovine prošlogveka i tradicionalne tehnike akvatinta bakropisa.Osobina ekranske slike je da je ograničena na mesto i
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trajanje na emisiju sadržaja. Jelena podseća na prividkonzervacije i trajanja psiholoških sadržaja (memorije)koji se osvešćuju kroz direktno proživljavanje u trenutkurealnog – ličnog vremena. Nina Todorović ukazuje navezu između sećanja i identiteta u radu Arhitekturasećanja. Ona razmatra mehanizme konzervacije sećanjagde je referencijalna kategorija mesto (psihološko ifizičko). Mesto obezbeđuje integraciju fragmenatasećanja u trajnu i monumentalnu strukturu kojapostaje temeljom identiteta. Za razliku od ovogsintetičkog pristupa Vladimir Ranković isti problemrešava drugačije. Njegov pristup je analitički fokusiranna detalje kojim pocrtava fragmentarnost sećanja. Onteži objektivnom predstavljalju ličnih sadržaja tako štopredmete nosioce tog sadržaja predstavlja kaolabaratorijske uzorke kojima priključuje adekvatan opis.Crtež – asamblaž Dragane Dragutinović ima elementispovesti i katarzične dimenzije umetnosti kojaposmatrača ne ostavlja ravnodušnim. U sličnomraspoloženju, drugačijim sredstvima, ostavlja nas videorad Drage Jovanović, u kome umetnica vešto artikulišeintrospektivnu analizu sa kritičkim odnosom premaokruženju, kroz jasno definisan i dosledno postavljenvizuelni izraz. Ana Piljić Mitrović i Jelena Ilić ispitujukrhkost veza u međuljudskim odnosa. Upotrebalomljivog i nestabilnog materjala – crteži na stakluAne Piljić Mitrović i objekti sačinjeni od gotovihpredmeta trošnog kvaliteta koje Jelena Ilić konstruiše iposvećuje sebi dragim ljudima, potenciraju nestabilnu
prirodu bliskosti, ljubavi i poverenja koju delimo sadrugima. Trajnost je sadržana u činjenici da suodređeni ljudi i određeni odnosi izbor autorki, te da naova način zauzumaju mesto u kretivnom procesu. RadAne Knežević suptilno zatvara krug pitanja sa kojimase susrećemo. Pokušava da materijalizuje oblastpraznog prostora i vremena koje je u fizici identifikaovaoRuđer Bošković. Ona koristi transparentnost paushartije konstruišući kompoziciju horizontalno lineraneorjentacije koja se postiže preklapanjima papira.Gustina određuje obojenost i osetljivost na svetlost.Harmonija je ključ kompozicije i metafora kosmičkogsklada i kontnuiteta.
Izbor koji dozvoljava profilisanje koncepta izložbe,svedoči o potecijalu kolkcije, koja brojem i kvalitetomradova daje mogućnost za mnoga i raznovrsta čitanja.Za sada čvrsto vezana za program svedoči i o jasnodefinisanom stavu i zrelosti galerije SKC Kragujevackoja se s pravom može svrstati u red reprezentativnihustanova ovog tipa u Srbiji.
Ksenija Marinković, istoričarka umetnosti
The practice of forming collections from the gallery-exhibition program of a cultural institution cannot becompared to the work of commercial art galleries thathave within their scope of activities the goal of trade inthe works of art. This is not about the exchange ofgoods – the services of marketing and marketpresentation of the author in exchange for an artproduct. Cultural institutions that have introduced suchpractices to their activities, have set a responsible andcomplex task for custodians and managers – toachieve a continuous and high-quality program whichattests to an acute state in the field of artistic creativity.
This exhibition presents a selection of works fromthe SKC Kragujevac Art Gallery collection that wascompiled during the 2015/16 season. Works in thecollection have been collected since 2004. This is thesecond exhibition of works from this collection.Compared to the previous exhibition held in 2014, thisone is somewhat more concise. It contains artwork byseventeen authors. In the selection we tried to includeas many different a media as possible – from drawing,sculpture through graphics, photography and video.
The special feature of this exhibition is reflected inits atmosphere. Simplicity of artistic expression, theabsence of color, techniques and light structurematerials, leave the impression of a tendency towards
the intangible. Most of the works are characterized bya retrospective. A look back on one’s own or collectivepast in order to solve the issue of identity with highlyaccentuated conflict of individual vs. the society, andindividual vs. collective. This kind of considerationrequires a certain tranquility and isolation. Explorationof the relationship between traditional and digitalmedia is also a special feature of a large number ofworks.
In Nemanja Nikolic’s video work – Panic Book,drawing is a carrier of art. Using montage, dramaturgyand directing, he creates a dynamic narrative inspiredby the aesthetics of Alfred Hitchcock. In the center ofthe artist’s interest is an individual in relation to society.The use of text is crucial to perception of the work asideologically and critically oriented. The relation of anindividual towards one’s self and the awareness of theother in the works of Pedja Terzic is expressed in thesubtle drawing of basketball players in a sports duel,inflicting injuries, with every touch, on themselves andon the others at the same time. A body as a carrier ofthe physical integrity of an individual becomes ameans of gaining benefits, in this case, victory on thefield. Distanced from one’s own body, transformed intoman machine, as a reflection of emancipation andprofessional perfection. Abstinence, suffering and
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SEGMENTS OF THE COLLECTIVE
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discipline, which lie in the basis of modern sportspractice, can, at the same time, be compared to theroad of progress in mastering the artistic expression,which is in the constant process of internal struggle,persistent work on oneself and reconsidering one’sown values, strength and endurance. The second lineof critical relation towards identity is visible through theworks of several authors in this exhibition. MarijaBogdanovic transforms characteristics of the personal– her clothes into a constructive materials for therealization of an artistic work. This kind of procedurecontains some of Zen philosophies. Deconstruction ofmeaning that the clothes, as a false self, carry, leads tothe liberation from the substantialist illusion of thelastingness of the same and its attributes. With thedestruction of the relationship between possessionand boundedness, the perception of the individual inrelation to the outside world is also changing. MilicaJaksic reveals the other side of the same problemwhere inanimate objects, in this case thereproductions of wrecked cars, are identified with thehuman body, emphasizing their emptiness andalienation from one’s own nature. The porcelain whichthe structure is made of additionally highlights thefragility and the superficiality of human life, devoid ofdeeper and higher quality content. The crisis of thehumanistic dimension of life is the object of interest forMilica Antonijevic, Ljubisa Simovic and MihailoVasiljevic in different ways. Milica finds a solution, again
in the reanimation of the memory – not personalmemories, but rather collective memory of the goldenage of human nature. The motif of water and diverhas a transcendental dimension in her work. Plungingin the depth of the subconsciousness, in which thesource of inexhaustible life energy and creativity isfound. Existentialistic reexamination of the meaning inthe work of Ljubisa Simovic – Trapped in Freedom isemphasized by the monumental performance of whatcould be called the aesthetics of the ugly. Ugliness as acategory does not refer to the formal feature of thework here, but to the causes and consequences of themodern tragedy in which we knowingly orunknowingly participate. The work of Mihailo Vasiljevic,dominantly admonishes that we ourselves havecreated our own synthetic environment as aqualitative element of emancipation. The photographof a figurine of a bear enlarged to life-size ominouslyand mercilessly attests to the degree of corruption ofthe society that consciously minimizes theconsequences of such a process. Photography takes asignificant place in the collection. This exhibitionfeatures four such works. One of them is the work ofyoung artist Jovana Trkulja. It examines the sensitivelimits of photography as a means of showingfabricated reality and its documentary character. Easyaccess to using this media with the emergence ofdigital photography and virtual reality in which weparticipate daily, additionally intensifies this problem.
The works of Nevena Popovic and Jelena Savic talkabout the impact of technology on human life. Bothauthors reflect a certain dose of nostalgia. Nevenadeals with the analysis of the subjective – personalperception of speed as a qualitative category oftechnological expansion. She reminds us that a step isan unchangeable measuring unit of the humanrhythm, and that acceleration in relation to theperception of modern times necessarily influences theorganic transformation of man’s nature. Jelena Savicdeals with the relevance of emotions and memories inthe screen era. She interprets the review of the pastusing a retro-TV-set screen format of the mid-20th
century and the traditional techniques of copperetching. The property of the display image is that it islimited to the location and the duration of thebroadcast. Jelena reminds us of the illusion ofconservation and the duration of psychologicalcontents (memory) that are awoken through directexperience in a moment of a real – personal time.Nina Todorovic points to the connection betweenmemory and identity in the work Architecture ofMemory. She considers memory conservationmechanisms where the reference category is a place(psychological and physical). The place provides theintegration of memory fragments into a durable andmonumental structure that becomes the foundation ofidentity. Unlike this synthetic approach, VladimirRankovic solves the same problem differently. His
approach is analytically focused on the details bywhich he underlines the fragmentation of memory. Hestrives for the objective representation of personalcontent by representing objects, carriers of thatcontent, as laboratory samples to which he attachesan adequate description. Drawing – an assemblage byDragana Dragutinovic, bears an element of confessionand a cathartic dimension of art that does not leavethe observer indifferent. Through different means, weare left in a similar mood by the video work by DragaJovanovic, in which the artist skillfully articulates anintrospective analysis with a critical attitude towardsthe environment, through a clearly defined andconsistently set visual expression. Ana Piljic Mitrovicand Jelena Ilic examine the fragility of relationships ininterpersonal relations. The use of fragile and unstablematerials – drawings on glass by Ana Piljić Mitrovicand objects made of dilapidated ready-made itemswhich Jelena Ilić constructs and dedicates to peopleclose to her, emphasize the unstable nature ofcloseness, love and trust that we share with others.Lastingness is contained in the fact that certain peopleand certain relationships are the choice of the authors,and so in this way they take a place in the creativeprocess. The work of Ana Knezevic subtly closes thecircle of issues we are facing. She tries to materializethe area of empty space and time that Rudjer Boskovicidentified in physics. She uses the transparency of atracing paper, constructing a composition of horizontal
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linear orientation that is achieved by overlapping thepaper. Density determines color and sensitivity to light.Harmony is the key to the composition and ametaphor of the cosmic harmony and continuity.
A selection that permits the profiling of theexhibition concept, attests to the great potential of thecollection, which by the number and quality of theworks gives an opportunity for many and variedreadings. So far, firmly bound to the program, it testifiesto the clearly defined attitude and maturity of the SKCKragujevac Art Gallery, which can rightly be countedamong exemplary institutions of this type in Serbia.
Ksenija Marinkovic, art historian
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Predrag Terzić
No 540a iz ciklusa Leistungugljen na papiru, 21,6 × 28 cm
2015.
No 540a from the series Leistungcharcoal on paper, 21.6 × 28 cm
2015
Predrag Terzić rođen je 1972. godine u Beogradu.Diplomirao je 2000. godine na Fakultetu likovnihumetnosti u Beogradu, Odsek slikarstvo, u klasiprofesora Čedomira Vasića. Magistrirao je 2004. godine,kod istog profesora. Doktorirao na interdisciplinarnimstudijama Teorija umetnosti i medija na Univerzitetuumetnosti u Beogradu pod mentorstvom profesoradr Divne Vuksanović. Radovi mu se nalaze u višeprivatnih kolekcija u zemlji i inostranstvu. Član jeUdruženja likovnih umetnika Srbije (ULUS) od 2001.godine.
Predrag Terzić was born in 1972 in Belgrade. Hegraduated in 2000 from the Faculty of Fine Arts inBelgrade, Department of Painting, in the class ofProfessor Čedomir Vasić. He got his Magister Degreein 2004 with the same professor. He received his PhDin interdisciplinary studies of Theory of Arts and Mediaat the University of Art in Belgrade under thementorship of Professor Divna Vuksanović, PhD. Hisworks are a part of several private collections in thecountry and abroad. He has been a member ofAssociation of Fine Artists of Serbia (ULUS) since 2001.
#22
http://www.predragterzic.com/
https://www.instagram.com/predragterzic/
Ana Knežević
White Balance 32svetlosna montaža (paus papir, staklo, drveni ram), senke na zidu,
57,3 × 57,3 cm
2013.
White Balance 32light installation (tracing paper, double glass and wooden frame),
shadows on the wall., 57.3 × 57.3 cm
2013
Ana Knežević (Beograd, 1976) završila je studijeslikarstva 2002, na Fakultetu likovnih umetnosti uBeogradu. Studirala je slikarstvo na MassachusettsCollege of Art u Bostonu 2003/2004. Izlagala je uvodećim galerijama i na umetničkim manifestacijama uSrbiji, uključujući Oktobarski salon 2005. i Salon Muzejasavremene umetnosti 2015. Dobitnica je prestižnihnagrada, za svoje instalacije, među kojima je i nagradaVladimir Veličković za 2009. Osim u Srbiji, izlagala je uSAD, Francuskoj, Mađarskoji, Bugarskoj. Dobitnica jedva značajna njujorška granta: CEC ArtsLink 2012. iPolok-Krasner 2017/2018.
Ana Knežević (Belgrade, 1976) completed her studies inpainting from the Faculty of Fine Arts in Belgrade in2002. She studied painting at the MassachusettsCollege of Art in Boston in 2003/04. She has exhibitedher art in leading galleries and art venues in Serbia,including the October Salon 2005 and the Salon of theMuseum of Contemporary Art 2015. For her installationwork, she has received prestigious national awardsincluding the Vladimir Veličković prize in 2009. BesideSerbia, she has exhibited her art in the USA, France,Hungary and Bulgaria. She has been awarded the twomajor New York City art grants: International CECArtsLink Residency Award in 2012 and, most recently, aPollock-Krasner award for 2017/2018.
#24
http://www.anaknezevic.net
Nemanja Nikolić
Panic Bookzvučni animirani film, 05:48
2015.
Panic Booksound animated film, 05:48
2015
Nemanja Nikolić (rođen 1987. godine) je diplomirao naFakultetu likovnih umetnosti u Beogradu, na slikarskomodseku, gde trenutno završava doktorski projekat.Dobitnik je više nagrada, kao što su Nagrada za crtež izfonda Vladimir Veličković, specijalna otkupna nagrada zamural i zidnu instalaciju Rajfajzen banke i galerije 12HUB iNagrada za inovaciju iz fonda Miloš Bajić. Njegovi radovise nalaze u brojnim privatnim i javnim kolekcijama, kaošto je ABN AMRO kolekcija u Amsterdamu, LucasMuseum of Narattive Art u Los Anđelesu, WAP fondacija uSeulu, Telenor kolekcija i kolekcija Centra za likovnoobrazovanje Šumatovačka u Beogradu.
Nemanja Nikolić (born in 1987) graduated from theFaculty of Fine Arts in Belgrade, in the DepartmentofPainting, where he is currently working on a doctoralproject. He has won several awards, such as the Prize forDrawing from the Vladimir Veličković fund, the specialpurchase prize for the mural and wall installation of theRaiffeisen Bank and the 12HUB Gallery and the InnovationAward from the Miloš Bajić Fund. His works are a part ofnumerous private and public collections, such as theABN AMRO collection in Amsterdam, the Lucas Museumof Narattive Art in Los Angeles, the WAP Foundation inSeoul, the Telenor collection and the collection of theCenter for Art Education Šumatovačka in Belgrade.
#26
http://www.nemanjanikolic.com
Ana Piljić Mitrović
Svetlosti lutalice (deo postavke)crtež na staklu, graviran u staklu, u crnim drvenim kutijama,
2 × (20 × 16 × 4,5 cm)
2015.
Brightness of the wanderer (part of the installation)drawing on glass, engraved in glass, in black wooden boxes,
2 × (20 × 16 × 4.5 cm)
2015
Ana Piljić Mitrović rođena je u Pančevu 1974. godine.Diplomirala je na Fakultetu likovnih umetnosti 2001.godine, na Slikarskom odseku, i magistrirala 2008. naistom odseku, u klasi profesora Gordana Nikolića.Član je ULUS-a od 2003. godine, u statususamostalnog umetnika od 2006. Do sada je imaladvanaest samostalnih izložbi, i učestvovala je nabrojnim grupnim izložbama.
Ana Piljić Mitrović was born in Pančevo in 1974. Shegraduated from the Faculty of Fine Arts in 2001 at thePainting department, and she received her MA in2008 at the same department, in the class ofProfessor Gordan Nikolić. She has been a member ofAssociation of Fine Artists of Serbia since 2003, andas an independent artist since 2006. She has hadtwelve solo exhibitions so far, and has participated innumerous group exhibitions.
#28
http://cargocollective.com/anapiljicmitrovic
Jelena Ilić
Iz serije objekata Lomljivo/Fragile »Paketan broda Nikola«, moj brat kad je bio malikombinovana tehnika, 20 × 16 × 15 cm
2014.
From a series Lomljivo/Fragile»Pactain of the ship Nikola«, my brother when he was littlecombined technique, 20 × 16 × 15 cm
2014
Jelena Ilić rođena je 1973. godine u Zemunu. Diplomiralaje slikarstvo na Fakultetu likovnih umetnosti u Beogradu2003. godine, u klasi profesora Jovana Sivačkog.Magistrirala je slikarstvo na FLU u Beogradu, 2008.godine, u klasi istog profesora. U statusu jesamostalnog umetnika od 2004. godine. Imala je desetsamostalnih izložbi i učestvovala na više grupnih. Živi iradi u Zemunu.
Jelena Ilić was born in 1973 in Zemun. She graduated inpainting from the Faculty of Fine Arts in Belgrade in2003 in the class of Professor Jovan Sivački. She got aMagister Degree in painting at the FFA in Belgrade in2008 in the class of the same professor. She has thestatus of an independent artist since 2004. She hashad ten solo exhibitions and had participated in severalgroup exhibitions. She lives and works in Zemun.
#30
http://www.facebook.com/jelenailicartworks/
http://www.facebook.com/jelena.ilicartandexhibitions/
Nina Todorović
Arhitektura sećanja lambda print, triptih, 3 × (50 × 28,33 cm)
2013.
Architecture of memorylambda print, triptych, 3 × (50 × 28.33 cm)
2013
Nina Todorović rođena je u Beogradu, 1973. godine.Diplomirala 1999. na Fakultetu likovnih umetnosti,Odsek slikarstvo, u klasi profesora Čedomira Vasića. Od2000. član Udruženja likovnih umetnika Srbije (ULUS),sa statusom samostalnog umetnika. Magistrirala 2002.godine u klasi istog profesora. Doktorirala 2014. na FLU,Beograd (mentor profesor Mileta Prodanović). Od 1995.godine imala 43 samostalne i učestvovala na preko200 grupnih izložbi, kao i na brojnim likovnimkolonijama, radionicama i web projektima. Dobitnik jeviše nacionalnih i internacionalnih nagrada.
Nina Todorović was born in Belgrade in 1973. Shegraduated in 1999 at the Faculty of Fine Arts,Department of Painting, in the class of ProfessorČedomir Vasić. Since 2000 she has been a member ofAssociation of Fine Artists of Serbia (ULUS) since, withthe status of an independent artist. In 2002, she got herMagister Degree in the class of the same professor. In2014, she got her PhD from FFA, Belgrade (Mentor –Professor Mileta Prodanovic). Since 1995 she has had43 solo exhibitions and has participated in more than200 group exhibitions, as well as numerous artcolonies, workshops and web projects. She is a winnerof several national and international awards.
#32
http://www.ninatodorovic.com
http://www.architectureofmemory.com
http://www.ninatodorovic.blogspot.com
Milica Antonijević
Tragači Vvisoka štampa, ø 70 cm
2015.
The Searchers Vrelief print, ø 70 cm
2015
Milica Antonijević rođena je 1973. godine u Kraljevu.Diplomirala je 1997. i magistrirala 2003. godine naFakultetu primenjenih umetnosti u Beogradu. Studentje doktorskih umetničkih studija na istom fakultetu. Članje Udruženja likovnih umetnika Srbije (ULUS) od 1998.godine. Vanredni profesor na predmetima Crtanje iSlikanje na Filološko-umetničkom fakultetu uKragujevcu.
Milica Antonijević was born in 1973 in Kraljevo..She graduated in 1997 and got a Magister Degree in2003 from the Faculty of Applied Arts in Belgrade. Sheis a student of doctoral studies at the same faculty.She is a member of Association of Fine Artists ofSerbia (ULUS) since 1998. She is an Associate Professorof Drawing and Painting at the Faculty of Philology andArts in Kragujevac.
Nevena Popović
Koraklavirani tuš, 38,5 × 27 cm
2015.
A Stepink lavee, 38.5 × 27 cm
2015
Nevena Popović rođena je 1976. godine u Beogradu.Osnovne i magistarske studije vajarstva završila je naFakultetu likovnih umetnosti u Beogradu. Bila je goststudent na Akademiji likovnih umetnosti u Beču i naAristotelovom univerzitetu u Solunu. Član je Udruženjalikovnih umetnika Srbije i međunarodne organizacijeSculpture-Network. Radi na Fakultetu umetnosti uZvečanu. Aktivno izlaže i učestvuje u umetničkimdogađajima u Srbiji i inostranstvu od 2002. godine.Autor je brojnih umetničkih projekta, među kojima je imeđunarodna izložba Soft Sculpture – Hard Thoughts(Galerija SULUJ, Beograd 2017). Za pedagoški rad dobilaje nagradu Bogomil Karlavaris (FLU i DKCB, 2014).
Nevena Popović was born in 1976 in Belgrade. Shecompleted her undergraduate and magisterial studiesof Sculpture at the Faculty of Fine Arts in Belgrade. Shewas a guest student at the Academy of Fine Arts inVienna and Aristotle University of Thessaloniki. She is amember of the Association of Fine Artists of Serbia andthe international organization Sculpture-Network. Sheworks at the the Faculty of Arts in Zvečan. She activelyexhibits and participates in artistic events in Serbia andabroad since 2002. She is the author of numerous artprojects, among which is the international exhibitionSoft Sculpture – Hard Thoughts (SULUJ Gallery, Belgrade2017). She received the Bogomil Karlavaris Prize (FFA andYCC, 2014) for her work in the field of pedagogy.
#36
http://www.venave.com
Mihailo Vasiljavić
Medved iz serije Životinjelambda, 75 × 92 cm
2010.
Bear from the series Animalslambda, 75 × 92 cm
2010
Mihailo Vasiljević (Beograd, 1981) osnovne studijefotografije završio je na Akademiji umetnosti BK uBeogradu 2005. godine. Master studije Teorijeumetnosti završio je na Univerzitetu umetnosti uBeogradu 2009. godine. Izlaže od 2000. godine;dobitnik je nagrade Different Worlds (2015) i dvostrukifinalista Nagrade Dimitrije Bašičević Mangelos (2015, 2016).Koosnivač je i urednik Centra za fotografiju (2011).
Mihailo Vasiljević (Belgrade, 1981) completed hisundergraduatestudies in Photography at the Academyof Arts BK in Belgrade in 2005. He completed hismaster studies in Theory of Art at the University of Artin Belgrade in 2009. He exhibits since 2000; he is thewinner of the Different Worlds award (2015) and thedouble finalists of the Dimitrije Bašičević MangelosAward (2015, 2016). He is a co-founder and editor ofthe Center for Photography (2011).
#38
http://mihailovasiljevic.com
Vladimir Ranković
Iz serije FragmentiPosteljina za crtanje cveća(kraj sedamdesetih i početak osamdesetih)Kragujevac, Bulevar Oktobarske revolucije 22/27 i Bulevar Oktobarske revolucije 3/27
Krevet je, u vreme pred spavanje, postajao čitav svet,a cvetna mustra činila se beskrajno raznolikom. Madasu jarke boje cvetova veoma brzo izbledele i posteljinapostala stara, ipak je ispunila svoju svrhu – dete jeuspevalo da nacrta cvet nalik bilo kojem sa nje.
objet trouvé / tekst, 51 × 37 cm
nađeno 2013.
From the series FragmentsBed Linen used for Copying Flowers(Late seventies and early eighties)Kragujevac, Serbia, Bulevar Oktobarske revolucije 22/27,Bulevar Oktobarske revolucije 3/27
Right before bedtime, the bed would turn into awhole new world, and a flower design seemedendlessly manifold. Even though the bright colors ofthe flowers soon faded away and linen itself wasworn out, it served its purpose nevertheless – thechild managed to draw any flower seen on it.
objet trouvé / text, 51 × 37 cm
found in 2013
Vladimir Ranković rođen je 13. juna 1973. godine uKragujevcu. Diplomirao je na Fakultetu primenjenihumetnosti Univerziteta umetnosti u Beogradu, naodseku Primenjena grafika, atelje Grafika i knjiga.Student je doktorskih interdisciplinarnih studija Teorijaumetnosti i medija na Univerzitetu umetnosti uBeogradu. Vanredni je profesor za oblast Grafika igrafičke tehnike na Filološko-umetničkom fakultetuUniverziteta u Kragujevcu. Deset radova ili njihovedelove izlagao je na sedamnaest samostalnih i prekostotinu grupnih izložbi. Objavljuje naučne radove,stručne, kritičke, kao i tekstove popularne publicistike.
Vladimir Ranković was born on June 13, 1973 inKragujevac, Serbia. He graduated from the Faculty ofApplied Arts of the University of Arts in Belgrade,Serbia, Department of Graphic Art, Group forPrintmaking and Book Design. He is a student ofdoctoral interdisciplinary studies of Theory of Arts andMedia at the University of Arts in Belgrade. He isAssociate Professor at the Faculty of Philology andArts in Kragujevac for the specialized field ofPrintmaking and print techniques. He has exhibitedten works or their parts at seventeen independentexhibitions and over 100 group exhibitions. Hepublishes academic articles, critical essays, as well asopinion journalism articles.
Draga Jovanović
Ovde gde uvek pirka umirujući vetarvideo, 8'26''
2014.
Here, where soothing wind always blowsvideo, 8'26''
2014
Draga Jovanović rođena je 1977. godine u Čačku. Završilaslikarstvo na Akademiji umetnosti u Novom Sadu (1999),a magistarske studije za fotografiju, video i slikarstvo naKaselskom univerzitetu u Nemačkoj (2000–2005). Umeđuvremenu radila kao asistent na proširenimmedijima kod profesora Kurta Hauga. U Torontu(Kanada) nastavlja da se bavi svojim radom, pretežnokratkim eksperimentalnim filmom. Aktivno izlaže uzemlji i inostranstvu (Nemačka, Grčka, Francuska, Italija,Bugarska, Sjedinjene Američke Države, Kanada, Portugal,Meksiko, Rusija, Irska). Trenuntno se nalazinarelacijiPrijevor/Srbija i London/Engleska. Glavno težiste njenogsadašnjeg rada je kratki eksperimentalni film.
Draga Jovanović was born in 1977 in Čačak. Shecompleted painting studies at the Academy of Arts inNovi Sad (1999) and she got a Magister Degree inphotography, video and painting from the University ofKassel in Germany (2000-2005). In the meantime, sheworked as an assistant on expanded media withProfessor Kurt Haug. She continues her work in Toronto(Canada), mainly with short experimental film. Sheexhibits actively in the country and abroad (Germany,Greece, France, Italy, Bulgaria, United States, Canada,Portugal, Mexico, Russia, Ireland). She currently residespartlyinPrijevor / Serbia and London / England. The mainfocus of her current work is short experimental film.
#42
http://www.dragajovanovic.com/
Milica Jakšić
Car bodies in white / Karoserije u belomporcelan, 32 × 26 × 31 cm
2012.
Car bodies in white / Karoserije u belomporcelain, 32 × 26 × 31 cm
2012
Milica Jakšić (1975), iz Stare Pazove, diplomirala jekeramiku na Fakultetu primenjenih umetnosti uBeogradu, gde je završila je i master studije.Samostalno je izlagala u Staroj Pazovi, SmederevskojPalanci, Kragujevcu, Somboru, Pančevu. Izlagala je nagrupnim izložbama u Srbiji, Hrvatskoj, Sloveniji iPortugaliji. Učesnica je Međunarodnih likovnih kolonijau Kikindi, Zlakusi, Krčedinu i Temišvaru. Nagrađena je2014. godine Diplomom ULUPDS-a (Udruženja likovnihumetnika primenjenih umetnosti i dizajnera Srbije) zaseriju radova Ispod vode – iznad vode.
Milica Jakšić (1975), from Stara Pazova, graduated in theDepartment of Ceramics at Faculty of Applied Arts inBelgrade, where she also completed her masterstudies. She has had solo exhibitions in Stara Pazova,Smederevska Palanka, Kragujevac, Sombor, Pančevo.She has exhibited at group exhibitions in Serbia,Croatia, Slovenia and Portugal. She was a participant inthe International Art Colonies in Kikinda, Zlakusa,Krčedin and Timisoara. In 2014, she was awarded withthe ULUPUDS (Association of Applied Arts Artists andDesigners of Serbia) Diploma for a series of worksUnder Water – Above Water.
Ljubiša Simović
Iz serije Zarobljeni u slobodidigitalna fotografija, 75 × 130 cm
2015.
From the series Trapped in Freedomdigital photography, 75 × 130 cm
2015
Ljubiša Simović rođen je 1961. godine. Završio je Istorijuumetnosti na Filozofskom fakultetu u Beogradu. Radikao muzejski savetnik u Narodnom muzeju u Kraljevu.Autor je brojnih projekata i izložbi u svojstvu istoričaraumetnosti i selektora.Autorski projekti – izbor:Oktobarski salon u Beogradu, Memorijal NadeždaPetrović u Čačku, Kritičari su izabrali, Kulturni centar uBeogradu, Ogledalo Balkana, festival novih medija,Narodni muzej u Kraljevu, Ideja (ne)realizacija, Požega,Kraljevo, Beograd, Prepoznavanja, Kruševac, Niš, Sofija,Skoplje, Podgorica, Kraljevo… Izlagao na jednojsamostalnoj i više grupnih izložbi fotografija.
Ljubisa Simović was born in 1961. He graduated inHistory of Art from the Faculty of Philosophy inBelgrade. He works as a museum advisor at theNational Museum in Kraljevo. He is the author ofnumerous projects and exhibitions as an art historianand a selector. Author projects – selection: OctoberSalon in Belgrade, Nadežda Petrović Memorial in Čačak,Critics Have Elected, Cultural Center in Belgrade, Mirrorof the Balkans, New Media Festival, National Museumin Kraljevo, Idea (Un)realization, Požega, Kraljevo,Belgrade, Recognitions, Kruševac, Niš, Sofia, Skopje,Podgorica, Kraljevo… He has exhibited at oneindependent and several group photo exhibitions.
Marija Bogdanović
Bez naziva iz ciklusa Za juče, danas i sutraobjekat (tekstil, drvo i staklo), 40 × 40 × 4 cm
2016.
Untitled from the cycle For Yesterday, Today and Tomorrowobject (textile, wood and glass), 40 × 40 × 4 cm
2016
Marija Bogdanović (1981) diplomirala je (2005) naslikarskom odseku Fakulteta likovnih umetnosti uBeogradu. Stipendista je Međunarodne škole zaslikanje, crtanje i vajanje (International School forPainting, Drawing and Sculpture) u Montekastelu, Italija(2005). Pohađala je radionicu 3D sistemi, na Fakultetulikovnih umetnosti (2009/2010). Samostalno je izlagaladevet puta, a učestvovala je na preko 30 grupnihizložbi u zemlji i inostranstvu. Član je Udruženja likovnihumetnika primenjenih umetnosti i dizajnera Srbije(ULUPUDS) (2008). Student je Interdisciplinarnihdoktorskih studija Univeziteta umetnosti u Beogradu,na studijskom programu Višemedijska umetnost.
Marija Bogdanović (1981) graduated (2005) from theDepartment of Painting at the Faculty of Fine Arts inBelgrade. She is a scholarship recipient of theInternational School of Painting, Drawing and Sculpturein Monte Castello, Italy (2005). She attended theworkshop 3D Systems at the Faculty of Fine Arts(2009/10). She has had nine solo exhibitions, and hasparticipated in over 30 group exhibitions in the countryand abroad. She is a member of Association ofApplied Arts Artists and Designers of Serbia (ULUPUDS)(2008). She is a student of Interdisciplinary DoctoralStudies at the University of Arts in Belgrade, at theMultimedia Art study program.
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https://medium.com/@marijabogdanovic
Dragana Dragutinović
Ljudi imaju ušikombinovana tehnika (grafit, šljokice, pvc, sapun), 100 × 70 cm
2015.
People have earscombined technique (graphite, tinsels, pvc, soap), 100 × 70 cm
2015
Dragana Dragutinović diplomirala je na Fakultetulikovnih umetnosti u Beogradu, u klasi profesoraJovana Sivačkog, 2004. godine. Doktorski umetničkiprojekat Zazidane, rimejk-ambijentalna instalacija, podmentorstvom profesora Milete Prodanovića, odbranilaje 2016. na istom fakultetu. Dobitnica je nagradeFakulteta likovnih umetnosti Rista i Beta Vukanović,slikari i nagrade VI majske izložbe Galerije Čedomir Krstiću Pirotu. Radi kao profesor u Visokoj školi strukovnihstudija za obrazovanje vaspitača u Pirotu.
Dragana Dragutinović graduated from the Faculty ofFine Arts in Belgrade in the class of Professor JovanSivački in 2004. Doctoral art project Walled in, aremake-ambiental installation, under the mentoring ofProfessor Mileta Prodanović, she defended in 2016 atthe same faculty. She is a winner of the Faculty of FineArts award Rista and Beta Vukanović, painters and theaward of the VI May exhibition of the Čedomir KrstićGallery in Pirot. She works as a professor at theCollege of Vocational Studies for Educators in Pirot.
Jovana Trkulja
NokturnoC print, 50 × 50 cm
2010.
NocturneC print, 50 × 50 cm
2010
Jovana Trkulja je rođena 1984 u Beogradu. Diplomiralaje na Akademiji umetnosti BK u Beogradu, Odsekfotografija,u klasi profesora Milana Aleksića, 2010.godine. Dobitnica je Vidovdanske nagrade za studentageneracije na Katedri za fotografiju za 2006. godinu.Do sada imala nekoliko samostalnih i grupnih izlozbi,2014.godine osvojila treće mesto na Rovinj Photodays,kategorija Umjetnički koncept, glavni selektor TodPapageorge. Radila je kao fotograf u dnevnom listuBorba. Učestvovala u izradi kataloga za Sportski savezSrbije.
Jovana Trkulja was born in 1984 in Belgrade. Shegraduated from the Academy of Arts BK in Belgrade,Department of Photography, in the class of ProfessorMilan Aleksić in 2010. She is the winner of theVidovdan Prize for the best student of the generation atthe Department of Photography for 2006. So far, shehas had several independent and group exhibitionsand has won the third place in Rovinj Photodays, in thecategory of Art Concept, with Tod Papageorge as themain selector. She worked as a photographer in thedaily newspaper Borba. She participated in the creationof a catalog for the Sports Association of Serbia.
Jelena Savić
Memorijaduboka štampa, 44 × 58 cm
2014.
Memoryintaglio, 44 × 58 cm
2014
Jelena Savić rođena je u Vranju, 1991. godine.Diplomirala 2014. godine na Filološko-umetničkomfakultetu u Kragujevcu, studijski program Grafički dizajn.Master studije završila je 2015. godine na Fakultetuprimenjenih umetnosti u Beogradu, odsek Primenjenagrafika, u klasi profesorke Gordane Petrović. Student jedoktorskih umetničkih studija Univerziteta umetnosti uBeogradu, studijski program Digitalna umetnost. Od2010. godine aktivno izlaže, a do sada imala četirisamostalne i učestvovala na preko trideset grupnihizložbi. Dobitnik je nekoliko nacionalnih nagrada.
Jelena Savić was born in Vranje in 1991. She graduatedin 2014 from the Faculty of Philology and Arts inKragujevac, programme Graphic design. Shecompleted master studies at the Faculty of AppliedArts in Belgrade, Department of Applied graphics, inthe class of Professor Gordana Petrović. She is astudent of doctoral art studies at the University of Artin Belgrade, Doctoral programme in Digital Art. Shehas been actively exhibiting since 2010, and she hashad four solo exhibitions and has participated in overthirty group exhibitions. She has received severalnational awards.
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https://www.behance.net/jeleni
Izdavač / Publisher
Studentski kulturni centar Kragujevac
GALERIJA SKC
Radoja Domanovića 12, 34000 Kragujevac
www.skckg.com
Za izdavača / For the publisher
Ivana Maraš Jovanović, direktor
Urednik kataloga / Editor
Ivan Arsenijević
Autori izložbe / Exhibition authors
Ksenija Marinković
Ivan Arsenijević
Dizajn / Design
Vladimir Ranković
Lektor / Proofreading
Nenad Glišić
Prevod / Translation
Mladen Ranković
Darjana Rančić Jerković (SKC GALLERY: SIGNIFICANT BASE OF CONTEMPORARY VISUAL SCENE)
Štampa / Printed by
Donat Graf, Beograd
Tiraž / Print run
500
CIP - Каталогизација у публикацијиНародна библиотека Србије, Београд
73/76.071.1(497.11)"19/20":929(083.824)73/77(497.11)"19/20"(083.824)
IZBOR iz kolekcije Galerije SKC : 2015-2016. / [urednik kataloga, editor Ivan Arsenijević ; prevod, translation Mladen Ranković,Darjana Rančić Jerković]. - Kragujevac : Studentski kulturni centar, 2017 (Beograd : Donat graf). - 60 str. : reprodukcije ; 20 x 20 cm
Uporedo srp. tekst i engl. prevod. - Tiraž 500. - Str. 7-8: Galerija SKC:značajno uporište savremene vizuelne scene / Ivan Arsenijević. - Str.11-13: Segmenti kolektivnog / Ksenija Marinković.
ISBN 978-86-7398-102-4
a) Ликовни уметници - Србија - 20в-21в - Изложбени каталози COBISS.SR-ID 249177356
