savršena izlozbaperfect exhibition´´

ŠSAVRŠENA IZLOZBA ■ PERFECT EXHIBITION

sandra stojanovic

2014

´

Dete genije. Dete idiot. ■ Valiant child. Idiot child.

Predgovor ■ Foreword

Fiktivni galerijski prostor ■ Fictive gallery space

Od devet do pet ■ From nine to five

Malo pakovanje kineskih flomastera ■ Small pack of Chinese felt pens

Novost ■ Just in

Bista umetnice ■ Bust of an artist

I’ve made it

Crno-belo ■ Black and white

Epilog ■ Conclusion

SADRZAJ ■ CONTENT´´

4

9

11

13

17

19

25

29

33

41

Odlomci razgovora između Sandre Stojanović

i njene majke Slavice o konceptu Savršene

izložbe. Slavica Stojanović je oftalmolog sa

dugogodišnjim iskustvom, majka četvoro dece,

veliki tradicionalista i kategorički nepoznavalac

savremene umetnosti.

Sandra:

Fragments of the conversation between Sandra

Stojanović and her mother Slavica about the

Perfect exhibition concept. Slavica Stojanović is an

ophtalmologist with long standing reputation,

mother of four, great traditionalist and categorical

non-conoseur of contemporary art.

Sandra: Znaš kako sam već duže vreme

u potrazi za nekim prostorom

u Beogradu gde bih mogla da

napravim izložbu od novijih radova?

To je dosta frustrirajuć proces s

obzirom da ili su prostori neuslovni,

pa moram sama da uložim novac u

opremu i sređivanje da bi izgledali

pristojno, ili su mi nedostupni.

U svakom slučaju, da bih izložila

radove na nivou za koji smatram

da je zadovoljavajući, potreban mi

je ne samo ogroman novac, već i

osoblje poput tehničara i fotografa,

jer galerije uglavnom funkcionišu

Dete genije. Dete idiot. Valiant child. Idiot child.

4

You know how I have been trying

to find a space in Belgrade for some

time now in order to exhibit my

recent artwork? It has proved to be

a rather frustrating endeavour given

that gallery spaces are either for the

most part inadequate (I would need

to invest a lot in equipment and

adaptation for the exhibition to look

properly) or they are completely out

of my reach. In any case, in order to

exhibit in a way I find acceptable,

I would require a lot of money,

but also staff e.g. technicians and

photographer, due to the fact that

amaterski. S tim u vidu, smislila sam

da napravim izložbu na kojoj bi jedina

izložena stvar bila katalog fiktivne

izložbe od datih radova kao da se ona

‘desila’ u prihvatljivom prostoru.

Kako to misliš? Ne bi izložila radove?

Ne, samo katalog u kome su

predstavljeni radovi sa tekstovima

u kontekstu te neke moje ideje o

savršenoj izložbi... Kada izložba

prođe, neće biti puno razlike između

toga da li se ona zapravo desila ili ne.

Katalog je obično taj koji svedoči o

tome. Kako ti se to čini?

Pa ne znam... Šta time dobijaš? Čini mi

se da bi samo iznervirala posetioce.

Evo na primer, ja kada odem na

izložbu volim da vidim radove.

A koliko često ti ideš na izložbe?

Nije u tome poenta...

U tome je itekako poenta. Izložbe

su velika lična ulaganja umetnika

na koje uglavnom dođu njihovi

prijatelji i rođaci, i tek ponekad

zalutali prolaznik. Za jedan eksluzivan

događaj koji podrazumeva blizak

krug ljudi, tolika ulaganja su stvarno

apsurdna. Nije ni čudo što je veliki

Slavica: Sandra:

Slavica:

Sandra:

Slavica: Sandra:

5

galleries operate in an amateurish

fashion. Having this in mind, I thought

of making an exhibition at which

the only exhibited object would be a

catalogue of the fictional exhibition as

if it had taken place in an acceptable

gallery place.

What do you mean? You would not be

exhibiting any actual artwork?

No, I would not; only the catalogue

containing texts and documentation

of artwork that are a part of the

perfect exhibition concept… After the

exhibition, there is not much difference

between whether it had taken place

or not. Catalogue is usually its main

testament. What do you make of it?

Well, I don’t know... What would you

gain by this? It seems to me that you

would only annoy the visitors. For

example, when I attend an exhibition, I

like to see some art.

And how often do you attend exhibitions?

That’s beside the point...

Oh, but that is very much the point.

Exhibitions present huge personal

investments of artists, and are mainly

attended by their friends and family,

Slavica:

Sandra:

Slavica:

Sandra:

Slavica: Sandra:

broj izložbi koje sam videla u

prethodnim godinama produkovan

sa vrlo malo profesionalnosti i

promišljanja. Uostalom, sve bi to

čak i bilo ok, mislim na mali broj

posetilaca, da postoji i najmanja

šansa da se neki od radova prodaju

nakon izložbe.

Dobro, ali kako tačno ova tvoja ideja

rešava taj problem? Na koji način ti

utičeš na to da se profesionalizuje

produkcija izložbi ili razvije tržište?

Za početak jasno se ograđujem

od apsurda tog sistema, odnosno

nesistema, i standarda za prezentaciju

umetnosti. Mislim da će trebati dosta

vremena da pomislim da napravim

tradicionalnu samostalnu izložbu u

Srbiji. Za mene je Savršena izložba

stejtment, kojim sebe obavezujem

da promišljam o prezentaciji svojih

radova na druge, efektnije načine.

Cela stvar je u tome da izložba

nije ni intelektualno ni finansijski

ekonomična aktivnost.

Ali ti češ i dalje sama finansirati

taj katalog i pretpostaljam da češ

Savršenu izložbu odraditi u nekom

Slavica:

Sandra:

Slavica:

and occasional accidental passer-by. For

the exclusive event gathering only a close

circle of people, such investments are

absurd. It is no wonder then that a vast

majority of exhibitions, that I witnessed

in the previous years, is poorly produced;

lacking professionalism and reflection.

Anyhow, that would all be fine, if there

were any prospects of some the works

being sold afterwards.

Alright, but how exactly does your idea

solve any of this? In what way do you

influence professionalism in exhibition

production or development of the art

market?

For starters, I clearly distance myself

from the absurdity of such system, or

non-system, and current standards for

art presentation. I believe there would

be a long time before I was to even think

about making a solo exhibition in Serbia,

in a traditional sense. For me, the Perfect

exhibition is a statement, through which

I commit myself to thinking about other,

more effective ways for art presentation.

The whole point revolves around the fact

that exhibitions, as a format, are neither

intellectually nor financially economical

activity.

Slavica:

Sandra:

6

od postojećih prostora za izložbe?

Zar nije to malo kontradiktorno za

nekoga ko tvrdi da negira sistem i

hoće od njega da se ogradi?

U pravu si: priroda ideje o Savršenoj

izložbi nije direktna, već suberzivna,

ali to je ne čini manje radikalnom ni

kontradiktonom ako sam ja svesna

svih tih elemenata koje si pomenula;

ako ih kontrolisano koristim.

Pretpostavljam da to zavisi od osobe i

stila, ali meni se za početak čini dosta

zanimljivo da u okviru očekivanja

o izložbi, na mestu gde se izložbe

inače dešavaju (najverovatnije će

to biti Osmica), uradim nešto što

će izneveriti očekivanja, pa makar i

tog malog broja ljudi koji će tu doći,

sa nadom da će im pružiti nešto

drugačije.

E pa to je to – šta neko dobija kada

dođe na otvaranje izložbe na kojoj je

samo jedna knjiga?

Realnost. I to vrlo iskreno.

Meni je to i dalje vrlo nategnuto. Je

li problem u novcu? Da imaš novac

da u nekoj od tih ‘amaterskih’ galerija

organizuješ izložbu, da li bi to uradila?

Sandra:

Slavica:

Sandra:

But you will still be the one to finance this

catalogue and presumably the whole

thing will take place in one of the already

existing gallery spaces? Isn’t this a bit

contradictory for someone claiming to

negate the system and wants to distance

themselves from it?

You are right: the nature of the idea about

Perfect exhibition is not direct, it is rather

subversive, but that does not make it

less radical nor contradictory, since I am

aware of the elements you mentioned

and am using them controllably. I assume

that it is a matter of personal style, but

it seems to me quite appealing to play

with expectations exhibitions commonly

set, at the very place exhibitions happen.

Even if this means not meeting the

expectations of a small number of people

who will be in attendance, but at the

same time hoping to provide something

else, something different.

Well, that’s it – what does someone gain

out of attending an exhibition at which

they are only able to see one publication

shown?

Reality. And quite honestly so.

To me this is still a bit far-fetched.

Sandra:

Slavica:

Sandra:

Slavica:

Slavica:

Slavica:

7

Ako je tako, samo reci koliko ti treba,

zaboga...

Što se tiče ove ideje, ona je mnogo

jači zaključak radova koji bi bili

izloženi nego bilo kakva izložba,

tako da sam sada odlučna u tome da

Savršenu izložbu realizujem onako

kako sam ti rekla.

Ali to znači da niko neće uživo da vidi

onu tvoju bistu od novčića! Ja bih se

osetila uskraćenom.

Produkcija radova za mene je

nužnost, ali ne i produkcija izložbe,

kojom bi se u normalnom društvu

bavili neki drugi delovi umetničkog

sistema. Kada se od mene očekuje

da snosim ceo teret sistema, to

je neodrživo, a mislim da je moje

puno pravo da ukažem na to šta

se dešava kada direktan utisak o

radovima izostane. Ako se neko i oseti

uskraćenim za radove, tim bolje; znači

da neko još uvek ima potrebu za

umetnošću.

Sandra:

Slavica:

Sandra:

Is money the issue? If you had money,

would you consider having the exhibition

at one of those ‘amateurish’ galleries? If so,

just let me know, for God’s sake…

When it comes to this particular idea,

this is a much stronger conclusion to

the artwork dealing with the notion of

value than any traditional exhibition.

Therefore, I am determined to have the

Perfect exhibition implemented the way I

told you.

But this consequently means that no

one will see your bust made out of coins!

I would feel as though I was denied

something.

Production of artwork comes as

inevitability to me, not so much

production of exhibitions, which should

normally be somebody else’s job. When

I am expected to take responsibility for

the whole system, that is completely

unsustainable, and it is my full right

to indicate what would happen if the

experience of artwork was to be denied.

If someone was to feel denied of art, the

better; it would mean that someone still

had a need for it.

Sandra:

Slavica:

Sandra:

8

Savršena izložba je izložba koja u formalnom

smislu predstavlja publikaciju kroz koju je

dokumentovana izložba koja se nije desila; ona

se trenutno nalazi pred tobom. Dakle, ovim

katalogom predstavljeni su već produkovani

radovi koji nisu došli u međusobni odnos

prezentacijom kroz izložbu u fizičkom svetu,

usled materijalnih ograničenja i loših uslova

umetničkog sistema.

Loši uslovi simptom su činjenice da umetničko

tržište u Srbiji ne postoji, a umetnost je retko

sufinansirana. Troškove produkcije radova

gotovo bez izuzetka snosi umetnik. Pored toga,

često se dešava da troškove izlaganja takođe

ili delimično ili u potpunosti pokriva umetnik.

Sistem, u kome je jedan njegov deo do te mere

preopterećen, neodrživ je. Svi oni koji učestvuju

u datoj situaciji, aktivno daju legitimitet i

produžavaju apsurdnost situacije. Odlučna

da ne želim da doprinosim paradoksalnim

dešavanjima na sceni, a u isto vreme želeći

Perfect exhibition is an exhibition which formally

represents a publication that documented an

exhibition which did no take place; you are

currently reading the publication. Thus, this

catalogue of sorts portrays the already produced

artwork, that has not been previously juxtaposed

within a physical exhibition due to financial

restrains and bad conditions of the art system.

Unfavorable conditions are a symptom of the

fact that art market in Serbia is practically non-

existent, and art is rarely funded. Production

costs are always covered by artists. Further, it is

often expected of them to invest in exhibiting

costs. System which overloads one its part to

this extent is completely unsustainable. All those

participating in the situation actively provide

legitimacy and help prolong absurdity of the

situation. I am determined not to contribute

to the art scene paradoxical tendencies, and at

the same time wanting to somehow present

my works which broadly dealt with the notion

Predgovor Foreword

9

da na neki način predstavim opus radova koji se

u širem smislu bave odnosom prema vrednosti,

nametnula se ideja o Savršenoj izložbi, koja opet

predstavlja moj odnos prema vrednovanju

formata tradicionalnog pojimanja izložbe.

U koncepciji Savremene izložbe vodila sam se

idejom da je katalog jedan od najlegitimnijih

svedoka održavanja izložbe; uostalom većinu

izložbi usled vremenske i/ili geografske

udaljenosti jedino i percepiramo kroz kataloge.

Ova publikacija se sastoji iz: odlomka razgovora

o ideji za Savršenu izložbu sa mojom majkom,

predstave isprojektovanog fiktivnog prostora

u kome se dešava izložba, predstave fiktivno

izloženih radova sa tekstovima, i zaključka.

Selektovani radovi koji su izložbom obuhvaćeni

su: video rad Od devet do pet, projekat Malo

pakovanje kineskih flomastera, serija inserata

iz vesti kojom se najavljuju smrti istaknutih

ličnosti pod nazivom Novost, Bista umetnice –

skulptura od kovanica 1,2 i 5 dinara, intervencije

na umetničkim dokumentarcima I’ve made it

i serija crteža na novinama Crno-belo. Izložba

se dešava samo u glavama onih koji dođu u

kontakt sa katalogom, a povlači pitanja vezana

za efikasnost prezentacije radova u savremenom

kontekstu sistema u Srbiji.

of value, the Perfect exhibition idea imposed

itself. It, too, in a way deals with how I assess the

traditional format of exhibitions.

Within the Perfect exhibition concept, I was

guided by the fact that catalogue is one

of the most legitimate testaments of an

exhibition. Besides, one perceives most of the

exhibitions through catalogues due to time

and/or geographical distance. This publication

comprises of: fragment of the conversation

between my mother and I, presentation of

the fictional space in which the exhibitions

supposedly took place, artwork with texts, and

conclusion. Selected artwork that made it into

the concept are: From nine to five video, Small

pack of Chinese felt pens project, series of death

announcements on TV news named Just in, Bust

of an artist – sculpture made out of 1, 2 and 5

dinar coins, interventions on art documentaries

I’ve made it, and series of drawings called Black

on white.

Exhibition takes place only in the minds of

those who get across the catalogue, and

raises issues around efficiency of artwork

presentation in Serbian contemporary art scene

context.

10

Fiktivni galerijski prostor Fictive gallery space

1

2

3 4Novost ■ Just in Bista umetnice ■ Bust of an artist

Malo pakovanje kineskih flomastera ■ Small pack of Chinese felt pens

Od devet do pet ■ From nine to five

5 6I’be made it Crno-belo ■ Black and white

11

1

2

3

4

5

6

Od devet do pet From nine to five

video, loop, 2’ 15”

Prikaz procesa produkcije radova u periodu od

21h do 5h.

video, loop, 2’ 15”

Depiction of the production process from 9pm

until 5am.

vimeo.com/89952456

1

13

kadar iz videa ■ frame from the video

U situaciji u kojoj je infrastrukura za produkciju

i umetničko tržište gotovo nepostojeća u

Srbiji, umetnici se suočavaju sa ogromnim

preprekama u stvaralaštvu i održanju sopstvene

umetničke prakse. Iako univerzalan problem,

on je naročito izražen kod mladih umetnika.

Veliki broj se prekvalifikuje u prvih par godina,

a najuporniji rade najrazličitije poslove kako bi

mogli u slobodno vreme da se bave onim za

šta su školovani i dugi niz godina pripremani

da rade. Video Od devet do pet je prikaz procesa

produkcije radova u improvizovanom studiju u

stanu mojih roditelja u periodu od 21h do 5h.

Kao i mnoge kolege, jedino vreme za neometan

umetnički rad nalazim u toku noći. Poigravanje

sa tradicionalnim radnim vremenom ima za cilj

uspostavljanje paralele sa opšte prihvaćenim

radnim procesom, tj. izopštenost umetničkog

napora, koja za posledicu ima njegovu nevidljivost

i, neminovno, dalju marginalizaciju. Postepeno

punivši kadar, u svom procesu dajem i izvesne

produkte, koji se materijalizuju u vidu crteža i

drugih radova. U samom videu, raznovrsnost i

blago estetizovana dinamika kreativnog procesa u

tenziji je sa uslovima u kojima se ona realizuje. Neka

vrsta nedorečenosti u završnom kadru kojim se

prikazuje radni prostor sa produkovanim radovima,

radikalno je iskren stejtment na nekoliko nivoa, od

kojih je onaj osnovni – ovde se cela stvar završava.

In such circumstances, where infrastructure for art

production and market is virtually nonexistent in

Serbia, artists face major challenges in their work

and attempting to maintain their art practice. Even

though this is a universal issue, it is particularly

significant when referring to young artists. Large

number of them pre-qualifies in the first couple

of years, and the most persistent ones do various

jobs only to be able to devote themselves, in their

free time, to what they were trained and meant

to do. From nine to five video is a depiction of my

production process in an improvised studio at my

parents’ house, from 9pm until 5am. Much like many

of my colleagues, the only time I find for undisrupted

artwork is during nighttime. Deliberate play with

traditional working hours aims at drawing a parallel

with what is generally conceived as legitimate

working process, i.e. point at disconnection of the

artistic effort, which consequently makes it invisible

and, inevitably, further marginalised. By gradually

filling the image, in my process I make certain

products, which materialise as drawings and other

artwork. In the video itself, versatile and mildly

aestheticised dynamics of the creative process is

conflicted with conditions in which it takes place. A

sort of ambiguity towards the end, depicting only

workspace and produced artwork, is a radically

honest statement on multiple levels, one of crucial

being – this is where the whole thing ends.

15

Malo pakovanje kineskih

flomastera

Small pack of Chinese felt

pens

crteži, 20 x 20 cm

Crteži nastali bojenjem kvadrata jeftinim

kineskim flomasterima, dok se nisu istrošili.

Dokument dostupnog materijala.

drawings, 20 x 20 cm

Drawings made by cheap Chinese colour felt

pens until they wore off. Document of available

materials.

2

17

šcrtezi na zidu ■ drawings on the wall

Projekat Novost je osmišljen kao kolekcija,

svojevrsan pregled bitnih smrti javnih ličnosti

koje su ostale u mom sećanju. Televizijski

dnevnici su razvili određeni format kroz koji

se informacije prenose. Smrt, kao takva, uvek

je aktuelna tema. Način na koji reagujemo

na smrt drugoga je uvek intiman, bez obzira

na naš prethodni odnos ili izostanak istog.

Suočeni sa smrću, osećamo se živima. Većina

verovanja i ponašanja oblikovana je u odnosu

na smrt. Javne ličnosti deo su naših života kao

i monumentalne vesti o njihovim smrtima, što

povratno utiče na percepciju i sećanje stvarnosti.

Iako je u pitanju lična selekcija televizijskih

najava smrtnih slučajeva, u isto vreme se radi i o

arhiviranju vremena i sociopolitičkog konteksta

čiji sam svedok. Naslov Novost je ironični osvrt

na činjenicu da su TV vesti danas umnogome

inferiorne i spore u odnosu na internet prilikom

izveštavanja, te su postale sekundarne u

informisanju javnosti o aktuelnim dešavanjima.

Just in is meant as a collection, a sort of

summation of relevant deaths of public

persons that stuck in my memory. TV news

have developed a format in which pieces of

information are delivered. Death, as such, is

always an active topic. The manner in which

one engages with death of another is rather

intimate, regardless of their previous relation.

Faced with the notion of death, one feels alive.

Most of our believe systems and behaviour have

been shaped by death. Public personas find their

ways into our lives, and so do the monumental

news of their deaths, which partake in our

perception and memory of reality. Even though,

this is a personal selection of TV news death

announcements, it is at the same time an

archiving of the time and sociopolitical context

I bear witness to. The title Just in is an ironic take

on the fact that TV news are largely inferior and

slow to internet when it comes to reporting

what is going on, and have taken a back seat in

informing public of up-to-date events.

Novost Just in

3

19

Umro je drug Tito ■ Comrade Tito has died

Umro je patrijarh Pavle ■ Patriarch Pavle has died

Ubijen Zoran Djindjic ■ Zoran Djindjic assassinated ´ ´

Preminuo Aleksandar Tijanic ■ Aleksandar Tijanic passed away´ ´

Umro akademik Dobrica Cosic ■ Scholar Dobrica Cosic dies´ ´´ ´

Bista umetnice je skulptura napravljena od

kovanica 1, 2 i 5 dinara, koja predstavlja

autoportret u prirodnoj veličini (49 x 52 x 29 cm).

Kovanice dinara imaju višeslojnu strukturu i

razlikuju se u odnosu na godinu izdanja; sve

imaju ili niskougljeničnu čeličnu ili niklovanu

osnovu, i presvučene su bakrom. Proizvodnja

1, 2 i 5 dinara košta oko 20 dinara, te samo je

kovanica od 20 dinara vrednija od sirovine od

koje je napravljena (20 i 10 dinara proizvode se

i u papirnoj verziji i zbog toga su izuzeti iz rada).

Zbog inflacije koja je posledica jedinstvenog

sociopolitičog konteksta, kupovna moć

kovanica je minimalna i njihova akumulacija

realno predstavlja opterećenje. Sve kovanice

koje su upotrebljene za pravljenje Biste

umetnice skupljene su po džepovima, tašnama

i sl. ukućana u periodu od godinu i po dana.

Upotrebljeno je ukupno 11 749 dinara. Rad ima

nekoliko nivoa revalorizacije; kovanice se svode

na sirovine (koje paradoksalno imaju nekoliko

Bust of an artist is a sculpture made out of 1, 2

and 5 dinar coins; a life-size auto-portrait (49 x

52 x 29 cm).

Dinar coins have a multi-layered structure and

are different depending on the year of issuing;

all have either low-carbon steel or nickel base,

and are coated in copper. Production costs of

1, 2 and 5 dinar coins are around 20 dinar, thus

leaving only the 20 dinar coin surpassing the

value of raw materials (20 and 10 dinar are also

produced in paper versions and are excused

from the artwork). Due to inflation, which is

a consequence of the unique sociopolitical

context, purchasing power of coins is close to

minimal and their accumulation presents a load.

All coins used in the making of the Bust of an

artist are collected by going through pockets,

bags and such of the household members in

about year and a half. 11 749 dinar is used in

total. The artwork has several levels of re-

valorisation; coins are reduced to raw materials

Bista umetnice Bust of an artist

4

25

puta veću vrednost kao takve, nego kao valuta),

a potom i integrišu u ‘umetnički rad’ tj. bistu čime

se navodno dodaje na vrednosti objekta. Bista je

format kojim se na određeni način odaje počast

pojedincima od značaja za društvo i kao takve

deo su šireg sistema. Autoproklamacijom na

nivou pojedinac kao umetnik, te i (neki) umetnik

kao data vrednost za društvo, krši se nekoliko

pravila takvog sitema. Pored toga, uništavanje

kovanica je krivično delo.

Bista uopšte podstiče na preispitivanje odnosa

vrednosti po inerciji i opravdanost kršenja

pravila pojedinca (pod oznakom ‘umetnost’).

(which paradoxically have a few times bigger

value than the currency) and then integrated in

‘artwork’ i.e. bust, which allegedly adds to the

total value of the object. Bust is a format used

to honour individuals who have contributed to

society, and as such is a part of a larger system.

Through auto-proclamation on such levels as

individual as artist, and (an) artist as a default

value to society, several rules of the system are

broken. Besides, destruction of coins is a criminal

act.

The bust, generally speaking, tests relations

between default values and validity of

individuals breaking rules (under the label ‘art’).

Linkovi ■ Links

NBS: Novac ■ NBS: Money

nbs.rs/internet/latinica/75/index.html

NBS: Najčešće postavljana pitanja ■ NBS: Frequently asked questions

nbs.rs/internet/latinica/scripts/showfaqsection.html?lang=SER_CIR&konverzija=yes&id_sekcije=34#336

Kovanice za bakšiš i kusur ■ Coins for tips and change

rts.rs/page/stories/sr/story/13/Ekonomija/1060904/Kovanice+za+bakšiš+i+kusur.html

Putnica sitnišem platila kartu vozač bacio novac kroz prozor ■ Passenger pays her ticket in coins and bus driver throws it

through the window

24sata.rs/vesti/aktuelno/vest/srbija-putnica-sitnisem-platila-kartu-vozac-bacio-novac-kroz-prozor/135871.phtml

Kako unovčiti džak kovanica? ■ How to cash in a sack of coins?

24sata.rs/vesti/ekonomija/vest/kako-unovciti-dzak-kovanica/107226.phtml

26

Bista uopšte podstice na preispitivanje odnosa vrednosti po

inerciji i opravdanost kršenja pravila pojedinca (pod oznakom

‘umetnost’).

The bust, generally speaking, tests relations between default

values and validity of individuals breaking rules (under the

label ‘art’).

´´

5

I’ve made it I’ve made it

29

Rad se bazira na poznatom marketinškom

mehanizmu gde se product placement u TV

serijama/filmovima retušira u drugi proizvod

ili brend prilikom prikazivanja u drugoj sredini.

Dakle, filmovi ili serije se suptilno menjaju, u

zavisnosti gde se i kada emituju, tako da sublimiraju

drugačije proizvode na gledaoca i to se naplaćuje

kao legitiman prostor za advertajzing. Po sličnom

principu, u dokumentarce i emisije o umetnosti

retuširala sam svoje radove sa originalnim narativom,

koji podjednako odgovara i originalu i mom radu.

Umetnički kritičari često krajnje generički govore o

radovima u okviru ovih emisija ili je slučaj da sam

neke stvari svesno/nesvesno preuzela od ljudi koji su

stvarali pre mene. Ovo je iskorišćeno kao okosnica za

poigravanje sa pojmovima umetničkog autoriteta,

autentičnosti i javnog priznanja u umetnčkom

svetu. Naziv rada I’VE MADE IT je frazalna igra reči

na engleskom jeziku koja znači i USPELA SAM, kao

i doslovce JA SAM GA NAPRAVILA. Dokumentarci

i emisije o umetnosti na kojima je intervenisano

postavljeni su na YouTube platformu.

Project is based on the known marketing

mechanism through which product placement in

TV shows/films are retouched into other products/

brands when aired in another environment. Thus,

TV shows/films are subtly modified, depending on

where and when they are aired, so to sublimate

different products to viewers; this is charged as

legitimate advertising space. Following a similar

principle, I did interventions on art documentaries

and shows by editing in my artwork whilst

keeping the original narrative. It equally fits both

the original and my work; art critics often speak of

artwork in vague terms or it is the case of me (sub)

consciously appropriating from those who have

produced art before me. This is used as a starting

point in questioning authority, authenticity and

public recognition in the art world. Project title

I’VE MADE IT is a deliberate wordplay in English

meaning both I’M SUCCESSFUL as well as I

PRODUCED THIS. Art documentaries and shows,

which were edited, are posted on the YouTube

platform.

prvo prikazivanje epizode 1. aprila 2007.

episode first aired on April 1, 2007

repriza 2011.

rerun in 2011

Because of its charm, we forget that impressionism is also avant-gardism.

But actually, this is in the same stream as...

...this. We find it a bit mysterious, but we pretty much know what goes into its

shock value.

originalni fragmenti iz emisije “Impresionizam: Osveta dobrog” ■ original

fragments from the “Impressionism: Revenge of the Nice” show

Because of its charm, we forget that impressionism is also avant-gardism.

But actually, this is in the same stream as...

We find it a bit mysterious, but we pretty much know what goes into its

shock value.

...this.

intervenisani fragmenti iz emisije “Impresionizam: Osveta dobrog” ■ edited

fragments from the “Impressionism: Revenge of the Nice” show

Crno - belo je serija od oko tridesetak intervencija

perom i tušem rađenih na specijalno pripremljenim

gipsanim pločama i prepariranim listovima dnevnih

novina. Radovi su nastali u drugoj polovini 2013.

godine, a formati variraju. Sadržaj novinskih

članaka je uzet kao konceptualna osnova. Naime,

dnevne novine destiluju neke od najpesimističnijih

i najbizarnijih dešavanja, te na taj način aktivno

(i pristrasno) utiču na percipiranje stvarnosti.

Štampani medijum, kao takav, sve više biva

prevaziđen; pristup informacijama je efikasniji

korišćenjem interneta. Dnevne novine, kao objekti

koji na ograničen način prenose uglavnom loše

vesti, u radu dalje bivaju tretirane belim premazima

preparature. One se potom lepe na gipsane ploče

i pri ovom činu se negiraju dva inicijalna svojstva

štampanih dnevnih novina. Sadržaj se sublimira

belim premazima, dok se fizičko svojstvo listova

preinačuje u predmetnost gipsa. Članak iz novina,

ovako tretiran, ne samo da gubi svoja svojstva

već, dodatkom crteža perom i tušem, postaje delom

novog sistema – umetničkog dela.

Black and white is a series of around 30 pen and ink

interventions on specially prepared plaster plates

and sheets of newspaper. Project was completed in

the second half of 2013, and dimensions vary from

piece to piece. Content from newspaper articles

is taken as the conceptual basis. Namely, daily

newspapers filter some of the most pessimistic and

bizarre events, thus actively (and in a bias manner)

influencing on one’s perception of what reality is.

Printed media, as such, is increasingly falling short;

access to information is far more efficient through

online media. Sheets of daily newspaper, as objects

which have a limited function in reporting bad

news for the most part, in this project get treated

with white layers of paint. They are then glued

onto plaster plates, thus loosing two of its initial

features in the process. The content is sublimated

with layers of white paint, whilst physical

characteristics of newspaper sheets are altered

into materialisation of plaster plates. Newspaper

article, treated like this, not only looses its features,

but with the addition of pen ink drawing,

Crno-belo Black and white

6

33

Ono što je ključno u ovim radovima je dihotomija

krajnosti tj. crnog i belog, koja se smenjuje u više

aspekata. Na prvom nivou, sadržaj članaka svojom

negativnošću predstavlja <crno> kome se tehnički

i simbolično suprotstavlja beli preparaturni premaz.

Same novine, kao pisana reč, u odnosu su <crno

na belo>, dok se i crtež oslanja na minimalističku

estetiku i igru relacije svetlog i tamnog. Za

posmatrača redukovani crtež predstavlja prvi sloj

i okosnicu otkrivanja rada. Novinski članci, uprkos

namazu, blago izbijaju na površinu pri pažljivijem

gledanju i moguće ih je čitati. Ono što važi za

ovu vrstu osnove je ono što važi i za bilo koju

vrstu represije u životu – ona je i dalje prisutna.

U tehničkom smislu, novinski članci kompoziciji

daju sive tonove i svojom strukturom i prelomom

aktivno utiču na percepciju rada. Minimalizam

crteža postaje manje takvim, kada posmatrač

počne otkrivati kako tonske tako i sadržinske

slojeve sublimiranih novinskih članaka. To za

posledicu ima izgradnju svesti o celosti rada tj. on

zapravo nije ograničen samo na pojam krajnosti

bez ikakve mogućnosti mešanja, međusobonog

dopunjavanja i interakcije kao što se to u naslovu

daje naslutiti. Crno - belo nije moguće.

transforms into a new system – artwork. What is

key to consider in these works is the dichotomy

of extremes. At the first level, newspaper article

content through its negative nature represents

<black> which is, both in technological and

symbolical terms, juxtaposed against layers of

white paint. Actual newspaper, carrying written

words, are part of the <black on white> co-relation,

whilst drawings rely on minimalist aesthetics and

play with use of dark and light. For an observer,

reduced drawings represent the first layer and

backbone in discovering the project. Newspaper

articles, despite layers of white paint, subtly

show on the surface at close inspection and

are possible to read. What could be applied for

this kind of artwork base is what applies in any

sort of repression in real life – it is still present.

Technologically speaking, newspaper articles

provide the composition with grey tones; with

their structure and layout, they actively influence

the perception of artwork. Minimalist nature

of drawings becomes less so, when one starts

to uncover tones and layers of content of the

sublimated newspaper articles. Consequently, this

results in the notion of the artwork as a whole i.e. it

is not just limited to the ideas of extremes without

any kind of possibility of interference, mutual

supplementation and interaction as the title might

indicate. Black and white is simply not possible.

34

28.5 x 34 cm

28.5 x 42 cm

35 x 35 cm

42 x 32 cm

42 x 25.5 cm

25 x 20 cm

Savršenstvo je iluzija. Savršena izložba (u Srbiji)

dupla.

Projekat Savršena izložba, pored toga što je

jedna vrsta autosatire, u mom ličnom procesu

otvorio je novi prostor. Ono što se nameće

kao direktna posledica preispitivanja formata

izložbe jeste razvoj (nove) strategije kojom bi

se radovi komunicirali u javnosti. Ovo će se

gotovo neminovno odraziti na prirodu mog

rada. Noviji projekti potpuno drugačije koriste

vizuelnu komunikaciju. Pretpostavljam da je

bilo potrebno samo razjasniti šta je to što želim

da postignem. Metodologija prezentovanja se

potom nameće sama po sebi. Period koji sledi

izgleda uzbudljivo.

Pefection is an illusion. Perfect exhibition (in

Serbia) double so.

Perfect exhibition project, besides being

auto-satirical, has opened a new space in

my personal process. What comes as a direct

consequence of questioning the exhibition

format is a necessity for the (new) strategy in

communicating artwork in public. This will

inevitably reflect on the nature of my work.

More recent projects use visual communication

in a completely different manner. I suppose it

was just a matter of deciding what it is that I

wanted to achieve. Methodology of presenting

work follows naturally afterwards. The period

ahead seems thrilling.

Epilog Conclusion

41

stojanovic.s.sandra@gmail.com

+381(0) 64 4247767

behance.net/sandrastojanovic

sandra-stojanovic.tumblr.com

urednik ■ editor

kustos ■ curator

tekstovi ■ texts

dizajn ■ design

prevod ■ translation

fotografija ■ photography

sandra stojanović

sandra stojanović

sandra stojanović

sandra stojanović

sandra stojanović

sandra stojanović

® 2014 sandra stojanović

® 2014 sandra stojanović

savršena izlozbaperfect exhibition´´